Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2006). / Nelson Mandela’s autobiography, ‘Long walk to freedom’, can be viewed as a milestone in South African history. Although it is not necessarily significant in a literary sense, it played an important role in making many South Africans aware of another side to their country’s history, and introduced them to a man who, besides being the world’s most famous political prisoner and a respected statesman, is also an ordinary human being. The Afrikaans translation of the autobiography, Lang pad na vryheid, formed part of a project to translate the original document into all the languages of South Africa (three other translations have been completed thus far). This project is discussed in relation to the ideological motive for it, and also in relation to the ideological position of Afrikaans in South Africa and the ideology and poetics of the translator. The study is based on a descriptive approach, specifically as manifested in the manipulation theory of André Lefevere. It attempts to place the translation of autobiography as a genre within translation theory, and suggests that the translator of autobiography has little ‘leeway’ with regard to the application of translation strategies, specifically those that change the original narrator’s ‘voice’. The various ways in which the text has been ‘manipulated’ in the production of its translation, both to make it function as a text in the target language and in ways that cannot always be justified on that basis, lead to the conclusion that it is very difficult to translate autobiography without interfering with the very personal telling of a person’s life story by that person, and without modulating the narration in a way that cannot always be reconciled with the autobiographer’s ideology. The modulation of the autobiographer’s voice, whether this takes place consciously, subconsciously or unconsciously, is finally argued to produce a translation that can no longer be viewed as the autobiography of Nelson Mandela in the strict sense.

Memoria (licenciado en ciencias jurídicas y sociales) / Desde su creación y adopción en el año 1955, las Reglas Mínimas para el Tratamiento de los Reclusos fueron reconocidas como la base para la elaboración de políticas penitenciarias en el tratamiento de las personas privadas de libertad. Sin embargo, con el paso del tiempo y producto del desarrollo en el ámbito legislativo internacional en lo que al tratamiento del recluso se refiere, se hizo necesaria su actualización. Se inició así un proceso de discusión y revisión de las diversas materias que regulaba, concluyendo tal labor en el año 2015 con la adopción de las Reglas Mínimas de las Naciones Unidas para el Tratamiento de los Reclusos o Reglas Nelson Mandela, a modo de homenaje al difunto presidente de Sudáfrica. Constatando en el ámbito nacional las precarias condiciones carcelarias, se hace necesario efectuar un análisis de las Reglas Mandela, dando cuenta de sus fundamentos y principios, así como aquellas materias que fueron modificadas para adecuarse a los nuevos tiempos. En el mismo sentido, la presente memoria se refiere a las principales normas nacionales que se encargan de regular la gestión de los recintos penitenciarios y los derechos y garantías de los reclusos, con énfasis en el Reglamento de Establecimientos Penitenciarios, a fin de determinar si éstas incorporan elementos de tales Reglas.

Made available in DSpace on 2016-04-28T18:24:00Z (GMT). No. of bitstreams: 1 Guilene Detimermane de Souza Candia.pdf: 646049 bytes, checksum: 89ed730a7017f0a430c459439c2ec3ed (MD5) Previous issue date: 2009-03-17 / Secretaria da Educação do Estado de São Paulo / This master's thesis concerns the research, under the critical and pragmatic perspective, the conceptual and linguistic metaphors that have the effect of the bearer of ideology and strategy of civility in political discourse. It was the study of the opening address of the South African leader, Nelson Mandela Rolihlahla, pronounced in the occasion of his entrance into the office as President of South Africa on 10 May 1994 in the city of Johannesburg, capital of that country. The speech was sharp in English language, but for the analysis, we used the Portuguese translation, interpreting the ideological occurrences in it. The option for this speech was because we believe it has been a landmark of changes in the history of that country. The approach of the Metaphor in Use assumes that even the metaphor is a figure of thought, which is conceptual. It manifests itself in scope of language in use, and it is from the discursive context that it can most be understood. This dissertation, therefore, fits into the approach of Metaphor in Use and in the Theory of Conceptual Metaphor. First, for analyzing the pragmatic meaning of metaphors, that is, its meaning within the specific socio-historical context, and secondly for appraising the reality by meaning of metaphors. Considering these theoretical tools and counting on the methodology of Critical Analysis of Metaphor, this dissertation aims to identify the metaphors that have the sense of carrying the ideology of Mandela and that expresses criticism of his predecessors in power in a polish way, while safeguarding the identities of those involved in the discourse. Both analyses had been in such a way carried through leaving for the identification of metaphorical expressions, thus indicating the types of metaphors identified and, finally, given by whom, where and for whom the speech was pronounced, seeking its pragmatic sense. The results have shown that Mandela, making use of linguistic and conceptual metaphors, first, expressed his pacifist ideology, showing still, that it is fruit of a long way and, secondly, criticized his predecessors in power, without causing harm, that is, the metaphors in this discourse had also had a role to disarm the aggression / Esta dissertação de mestrado refere-se à pesquisa, sob a perspectiva crítica e pragmática, das metáforas conceptuais e lingüísticas que tenham o sentido de portadora de ideologia e de estratégia de polidez num discurso político. Teve como base de estudo o Discurso Inaugural do líder sul-africano, Nelson Rolihlahla Mandela, proferido na ocasião de sua posse como presidente da África do Sul, em 10 de maio de 1994, na cidade de Johannesburgo, capital daquele país. O discurso foi pronunciado em língua inglesa, mas para a análise servimo-nos da tradução ao português, interpretando suas ocorrências na mesma. A escolha deste discurso se deu por acreditarmos que o mesmo tenha sido um marco de mudanças na história daquele país e, a abordagem da metáfora em uso pressupõe que, mesmo a metáfora sendo uma figura de pensamento, isto é conceptual, ela manifesta-se no âmbito da linguagem em uso, e é a partir do contexto discursivo que ela pode ser mais bem compreendida. E esta dissertação, portanto, insere-se na abordagem da Metáfora em Uso e na Teoria da Metáfora Conceptual, primeiramente, por analisar o sentido pragmático das metáforas, isto é, o seu sentido dentro do contexto sócio-histórico específico e, em segundo lugar, por conceituar a realidade por meio das metáforas. Considerando essas ferramentas teóricas e contando com a metodologia da Análise Crítica da Metáfora esta dissertação se propõe a apontar as metáforas que tenham o sentido de portadora da ideologia de Mandela e que expressem críticas aos seus antecessores no poder de maneira polida, salvaguardando as faces dos envolvidos no discurso. Para tanto foram realizadas as análises, partindo pela identificação das expressões metafóricas, logo, apontando os tipos de metáforas identificadas e, por último, considerando por quem, onde e para quem foi proferido o discurso, buscando o seu sentido pragmático. Os resultados mostraram que Mandela, ao servir-se das metáforas conceptuais e lingüísticas, primeiramente, expressou sua ideologia pacifista, mostrando ainda, que é fruto de um longo caminho e, em segundo lugar, critica seus antecessores no poder, sem provocar ofensas, isto é, as metáforas, neste discurso, tiveram a função, também, de desarmar a agressão

The Rivonia treason trial started on October 9, 1963, the same day that former Cape Town coloured singer Danny Williams made front page headlines by marrying a white girl in London. Those were the days when apartheid, not as “reformed” as it is today, was rigorously applied by the National Party government. Love, sex and marriage across the colour line were forbidden. Crooner Williams, 31, then riding the crest of the pop wave with his ballad “Moon River”, took his vows with Bobbi Carole, who married him against the wishes of her parents. Williams, fearing persecution, told an interviewer he would not be welcome in South Africa again. But most prominent by far on the front page that day was the Rivonia treason trial. A report from Pretoria — following the style of the times — said: “Eleven men — four whites, one Indian and six Natives — went on trial in the Supreme Court here today before Mr Justice Quartus de Wet (Judge President of the Transvaal) on charges of sabotage and of offences under the Suppression of Communism Act and of contravening the Criminal Law Amendment Act.” / Supplement to The Argus, Wednesday February 7 1990 / Exclusive Part 2

Text in English / This study examines and discovers the translation strategies as employed in the Sesotho sa Leboa translation of Mandela's Long Walk to Freedom. Mandela's Long Walk to Freedom was published in 1995 and was translated into Sesotho sa Leboa by S M Serudu in 2001. The Sesotho sa Leboa translation of the life history of Mandela, Leetotelele go ya Tokologong (Long Walk to Freedom) is one of the four completed translations to date that form part of the assignment to translate the original text into the official languages of South Africa. The aim of this study is to investigate the translation strategies used to transfer linguistic and cultural items in the translation of Mandela's autobiography. The study is mainly qualitative and examines the strategies employed by Serudu. For data collection, the source and target texts of Mandela's Long Walk to Freedom as well as the semi-structured face-to-face interviews with four translators into Sesotho sa Leboa, isiZulu, isiXhosa and Afrikaans were used. The study is based on the Descriptive Translation Studies Theory, Bassnett and Lefevere's "cultural turn" as well as the domestication and foreignization strategies. In this case, it investigates if Serudu has domesticated and/or foreignized his translation. The findings revealed that Serudu domesticated his translation by using metaphors, similes, personification, euphemism, hyperbole, proverbs, idioms and the use of descriptive words. Foreignization was also found when the translator dealt with the borrowing and loaning of words where most of the concepts were transferred, Sotholised, retained and transferred, as they were, especially culture specific items. / African Languages / D. Litt. et Phil. (African Languages)

Thesis (PhD (English))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis undertakes a comparative examination of South African and Kenyan auto/biographical narratives of crime and imprisonment. Although some attention is paid to narratives of political imprisonment, the study focuses primarily on autobiographical accounts by criminals, confessional narratives, popular fiction about crime and prison experience, and journalistic accounts of prison life. There is very little critical work at this moment that refers to these forms of prison writing in South Africa and Kenya. Popular prison narratives and to a certain extent the autobiographical in general are characterised by an under-theorised dialecticism. As academic concepts, both the popular and the autobiographical form are characterised by an unstable duality. While the popular has been theorised as being both a field of resistance to power and of consent to its demands, the autobiographical occupies a similar precariously divided position, in this case between fact and fiction, a place where the „I‟ that narrates is simultaneously the subject and object of the narrative. In examining an eclectic body of texts that share the prison as common denominator, my study problematises the tension between self and world, popular and canonical, political and criminal, factual and fictional. In both settings, South Africa and Kenya, the prison as a material and discursive space does not only mirror society but effects shifts and changes in society, and becomes a space of dynamic adaptation and also a locus that disturbs certain hegemonic relations. The way in which the experience of prison opens up to a fundamentally unsettling ambiguity resonates with the ambivalence that characterises both autobiography as genre and the popular as a theoretical concept. My thesis argues that during the entire historical period covered by the narratives that I examine there is a certain excess that attends on the social production of criminality and the practice of imprisonment, both as material realities and as discursive concepts, which allows them to have a haunting effect both on individuals‟ notions of „the self‟ and the constitution of national identities and nationhoods. I argue that the distinction between the colonial and the postcolonial prison is hazy. Therefore a comparative study of Kenyan and South African prison literature helps us understand how modern prisons and notions of criminality in contemporary Africa are intertwined with the broad European colonial project, reflecting larger issues of state power and control over the populace. In relation to South Africa, my study begins with Ruth First‟s 117 Days (1963), and makes a selection of other prisons narratives throughout the apartheid era up to the post-apartheid period which was ushered in by Mandela‟s Long Walk to Freedom (1994). Moving beyond Mandela, I examine other forms of South African crime and prison narratives which have emerged since the publication of Pumla Gobodo-Madikizela‟s A Human Being Died that Night (2003) and Jonny Steinberg‟s The Number (2004). In Kenya, I begin with Ngugi wa Thiongo‟s Detained (1981). I then focus on popular narratives of crime and imprisonment which began with the publication of John Kiriamiti‟s My Life in Crime (1984) up to the first decade of the 21st century, marked yet again by the publication of Kiriamiti‟s My Life in Prison (2004). Besides Kiriamiti‟s two narratives, the other Kenyan texts which I examine are John Kiggia Kimani‟s Life and Times of a Bank Robber (1988) and Prison is not a Holiday Camp (1994), Benjamin Garth Bundeh‟s Birds of Kamiti (1991), and Charles Githae‟s, Comrade Inmate (1994). / AFRIKAANSE OPSOMMING: My proefskrif onderneem ‟n vergelykende studie van Suid-Afrikaanse en Keniaanse auto/biografiese narratiewe van misdaad en gevangeneskap. Hoewel aandag tot ‟n mate geskenk word aan verhale van politieke gevangeneskap, is die primêre fokus van die studie eerder op autobiografiese narratiewe deur misdadigers, konfessionele narratiewe, populêre fiksie met betrekking tot misdaad en gevangenis-ondervindinge, sowel as joernalistieke verslae oor gevangenes se lewens agter tralies. Min kritiese werk is tot dusver in verband met hierdie vorme van gevangenis-narratiewe in Suid-Afrika en Kenia gedoen. Populêre prisoniers-narratiewe, en tot ‟n mate autobiografieë oor die algemeen, word deur ‟n onder-geteoriseerde dialektisisme gekenmerk. As akademiese konsepte word beide die populêre en die autobiografiese vorme deur ‟n onstabiele dualisme gekenmerk. Terwyl die populêre tipe geteoretiseer word as sowel ‟n vorm van weerstand teen mag as van toegee daaraan, word aan die autobiografiese tipe ‟n soortgelyke onstabiele, verdeelde rol toegeskryf – in hierdie geval, tussen feitelikheid en fiksie, ‟n plek waar die “ek” wat vertel terselfdertyd die subjek en objek van die verhaal is. Deur middel van ‟n eklektiese versameling van tekste wat die gevangenis as verwysingspunt deel, problematiseer my verhandeling die spanning tussen self en wêreld, die populêre en die gekanoniseerde, die politieke en die kriminele, die feitelike en die fiktiewe. In beide kontekste, Suid-Afrika en Kenia, weerspieël die gevangenis as diskursiewe spasie nie alleenlik die gemeenskapsomgewing nie, maar veroorsaak dit ook veranderings en verskuiwings in die gemeenskap – sodoende word die gevangenis self ‟n ruimte van dinamiese verandering en ‟n plek wat sekere hegemoniese verhoudings versteur. Die manier waarop die ondervinding van gevangeneskap lei tot ‟n fundamentele versteurende dubbelsinningheid resoneer met die dubbelsinnigheid wat beide die autobiografiese as genre en die populêre as teoretiese konsep karakteriseer. My tesis voer aan dat, gedurende die ganse historiese tydperk wat gedek word deur die narratiewe wat ek hier betrag, daar ‟n sekere oormaat is wat die sosiale produksie van misdaad en die toepassing van gevangesetting begelei, beide as stoflike werklikhede en as diskursiewe konsepte, wat hulle toelaat om ‟n kwellende effek uit te oefen beide of individuele mense se sin van „self‟ en die samestelling van nasionale identiteite en nasionaliteite. Ek voer aan dat die onderskeid tussen die koloniale en die postkoloniale gevangenis onduidelik is, en dat ‟n vergelykende studie van Keniaanse en Suid-Afrikaanse gevangenes-narratiewe ons dus help om te verstaan hoe moderne tronke en idees oor misdaad in Afrika deureengevleg is met die breë Europese koloniale projek, en groter kwessies van staatsmag en beheer oor die bevolking weerspieël. In Suid Afrika begin my studie met Ruth First se 117 Days (1963), en maak dan ‟n seleksie van ander gevangenes-narratiewe van die apartheid-era tot en met die post-apartheid oomblik wat deur Mandela se Long Walk to Freedom ingelui word. Ek vestig dan my aandag op ander vorme van Suid-Afrikaanse misdaad- en gevangenes-narratiewe wat sedert die publikasie van Pumla Gobodo-Madikizela se A Human Being Died that Night (2003) en Jonny Steinberg se The Number (2004) verskyn het. In Kenia begin ek met Ngugi wa Thiongo se Detained (1981), en kyk dan ten slotte na populêre narratiewe van misdaad en gevangeneskap wat hulle aanvang vind met die publikasie van John Kiriamiti se My Life in Crime (1984) tot en met die eerste dekade van die 21ste eeu, nogmaals gemerk deur die publikasie van Kiriamiti se My Life in Prison (2004).