This dissertation examines the production and perception of some selected stress patterns in Libyan Arabic by English speaking learners and compares them to the production and perception of the native speakers. Two tasks were utilised to investigate the participants’ performance: a picture naming and an identification task. Word patterns covered potential problematic and non-problematic areas. An optimality theoretic approach is adopted in the discussion of the results of the perception and production of stress by the participants (Chapters 5 & 7) while a metrical approach is referred to in the discussion of the Libyan Arabic stress system in Chapter 3. It is found that structural effects (e.g. syllable structure, vowel quality, syllable position or class) have consequences on how the learners perceive and produce stress and on how they use this information in assigning stress. The study found that if the stress patterns match in the L1 and L2, and they follow regular phonological conditions, the learners get these patterns right by just applying the predictable patterns. If the stress patterns are similar but applied differently and they contradict predictable conditions, these unpredictable and/or marked patterns are not accessible in the L2 despite their partial availability in the L1. If a particular stress pattern does not exist in the L1, then the L1 negative transfer effect may appear in the L2. The misperception of stress is not only restricted to L2 learners but native speakers also fail in certain patterns to perceive the stress location. The learners use grammatical class and syllable structure as stress indicators but they show a deviation from the native speakers in using the vowel length cue. The native speakers are more sensitive to vowel length; the absence of vowel length or syllable closure in the stressed syllable in certain patterns prevent the native speakers from perceiving stress accurately.

'The Tale of Genji' had been out of print in Japan for nearly two centuries when its first English translation debuted in 1882. Ironically, as fin de siècle Anglophones encountered early reviews of 'Genji' in 'The New York Times' and elsewhere as a Japanese classic, the text was unavailable in Tokyo bookstores. This study investigates the millennium-long history of 'Genji', shedding light particularly upon how its English translators introduced textual and marketing strategies that were adopted by Japanese to domestically popularize the work. Such findings will extend those of G.G. Rowley (1997), who first contended that 'Genji' had fallen out of print between the years of 1706 and 1890. This study builds upon Rowley's research, clarifying how English translations of 'Genji' were responsible for the work's return to print in Japan, where 'Genji' has subsequently become the country's national classic. Methodologically, in exploring how translators have creatively enriched Murasaki's legacy up until the present, this study applies Anthony Pym's notion of humanization (2009) and Pascale Casanova's call for literary historicization (2007). Additionally, this thesis contributes to translation research by introducing the Japanese concept of reverse-importation. The term describes a process through which objects can gain recognition in their domestic market due to perceptions of popularity achieved abroad. Murasaki's tale provides a case to better understand how English translations of 'Genji' have, through reverse-importation, altered the work's standing in Japan.

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The main objective of this study is to show how "the Stylistic Phenomenon" has entered Arabic literary critical life. It aims to examine "Practical Criticism" in Arabic, which adopts a "stylistic approach". In order to achieve this, however, it is essential to have examined a complete picture of this approach in Arabic literary life in all its aspects, most of which are concerned with issues, of stylistic theory rather than practical stylistics. Efforts have been devoted to establishing it as a separate recognised approach: in the theory of translation, in matters of terminology, in traditional Arabic literary criticism, etc. The "Stylistic Approach" in Arabic literary life, as examined here, also illustrates the whole situation of the real relationship of Arabic literary criticism with modern literary criticism in The West. There are various channels of connection with modern Western literary criticism, such as the translation of the most important works relating to this topic into Arabic, either as monographs or as articles in literary journals. There are also Arab writers who have been educated in The West and who are applying the stylistic approach to Arabic literature. This study shows the connection of Arab scholarship with the modern linguistic revolution in the West, from which the stylistic approach is the fruit. It is clear that the most important figures in modern linguistics, particularly those whose works are influenced by modern Western linguistics or have been affected by modern Western literary criticism, are well-known, and the Arab reader is familiar with Althusser, Bakhtin, Bally, Barthes, Brooks, Chatman, Chomsky, Cohen, Derrida, Foucault, Genette, Jakobson, Levi-Strauss, Saussure and many others.

This thesis consists of a critical edition of the Kit=ab al-istikhr=aj li-ad hk=am al-khar=aj, which is basically a review of the system by which land is taxed in an Islamic society. It covers the legal intricacies concerning this issue, ranging through the period of the early days of Islam to the eighth century Hijrah. The analysis is predominantly based on three manuscripts, obtained from the Uppsala, Paris and Cairo libraries. It is divided into two parts, the former containing the introduction and the latter the text. The introduction again is sub-divided into three chapters: the first giving a general outline of the work and the text, the second dealing with the author, and finally the third being a brief discussion of the khar=aj system. A bibliography of the introduction is included. Also included is a list of the verses of the Qur'=an and narrations from had{=i}th quoted, as well as a list of the books referred to, in the text.

To our best knowledge this is the first attempt to investigate translation of the stylistic features involved in an interesting masterpiece of American literature, The Old Man and the Sea, written by Ernest Hemingway. This story has been translated into Arabic twice, first by Munir Ba'labaki and second by Dr Ziad Zakariyya. This thesis attempts to explore problems of literary translation from English into Arabic. It seeks to investigate some aspects of culture and style in The Old Man and the Sea and the two Arabic translations. The aim is to assess how much of the style and culture of the original has been preserved. It is also concerned with the problem of equivalence and translation units, since equivalence is considered the tool for detailed comparison. Chapter One deals with various approaches to evaluation of translation. This is done by reviewing a number of notions which have dominated the field of translation for a long time. One school believes that the act of translation is an art and that evaluation is limited to the aesthetic values of a literary work and depends largely on the critic's subjective decisions. Its objective is to provide a list of rules for the translator to follow in order to arrive at a translation of optimal value. The other school approaches translation as a linguistic operation and considers that a translation should be judged objectively, according to a linguistic analysis based on equivalence of the ST and the TT. Proponents of this view have developed models for evaluating. These models are addressed. Chapter Two is concerned with a review of certain concepts which are fundamental to literary translation. It attempts to highlight the theoretical approaches to the notion of 'equivalence', such as formal vs. dynamic and semantic vs. communicative equivalence, and different approaches to the question of translation units.

This thesis consists of a critical study and edition of seven chapters from Kitab Jumal al-ghara'ib by Mamud b. 'Al Abu al-Hasan b. al-Husayn al-Naysabur al-Ghaznaw al-Qazwn Abu al-Qasim Najm al-Dn, known as Bayan al-Haqq, an important book on the subject of Gharib al-Hadith. The thesis is divided into two parts, an introduction and critical edition of the text. The introductory part is further divided into three chapters: the first chapter deals with a brief life of the author and his works. The second chapter provides information about the science of Gharib al-Hadith, methods and detailed works on the subject. The third chapter deals with the authenticity, originality, sources of the work, description of the Manuscripts, method of edition and explanatory notes on the Arabic text. Part two is the critical edition of the Arabic text, based on three MSS with their variant readings. Indices and bibliography are also provided.

Kitab al-Wajiz fi Dhikr al-Mujaz: wa al-Mujiz: by Abu Tahir al-Silafi (d.576/ 1181) is an important treatise on ijazah [one of the eight methods of the transmission of hadith], which also includes the biographies of those transmitters [in the 5th-6th centuries H.] of hadith who gave an ijazah to al-Silafi. K. al-Wajiz is the single important source of some biographies for many later bibliographers. This thesis is based on the edition of a unique MS [of K. al-Wajiz] in the Chester Beatty Library. The work is divided into two main sections, the introductory part and the critical edition of the Text. The introductory part is further divided into two chapters. The first chapter consists of a brief account of the author's life and a detailed study of his works. The second chapter contains a general outline of the eight methods of the taking up of hadith [turuk tahammul al- hadith] and a basic account of the subject of ijazah, followed by a discussion of al-Silafi's attitude towards ijazah. Part two consists of the critical edition of the Arabic Text together with an introduction, English translation and the necessary explanatory notes. The method adopted in the edition, annotation and translation is also indicated here. Indices of the Quranic verses and ahadith, names of books, places and persons occurring in the Arabic Text are also provided.

This thesis was motivated by turn-of-the-century concerns in Chinese translation studies about the validity of the long-held translation principles proposed by Chinese translator Yan Fu and about the relevance of Yan's paradigmatic translation project to future research. It rereads the translation practice and intellectual thought of Yan Fu by adopting an interdisciplinary approach restructuring past studies that have been isolated in the areas of intellectual history and translation theory. The examination of his translation practice through a series of metaphor suggests, contrary to existing consensus, that faithfulness to the source text is irrelevant to his translation project. His translation principles are not pure literary notions; rather they are tied to the Confucian literary and exegetical tradition. These findings unfold new potentialities for a major research topic that has been challenged as having reached a cul-de-sac and point to a new direction for development in Chinese translation studies. New findings from the field of intellectual history help to clarify existing inconsistencies and political biases concerning Yan Fu's persona and historicize him as a persistent seeker of the Confucian dao. This testifies to the need to reassess his translation project in relation to the Confucian-based Chinese tradition. Close examination of his remarks on translation, correspondence and other writings suggests that his words and deeds are steeped in Confucian poetics, which represents a totally different concept from modern pure literary poetics. His commitment to Confucian ontological faith and ultimate concern for spiritual or cosmological transcendence are similar to the ends of some of the most influential translators in Chinese history and marks a higher level operation of translation as a tool for higher learning than as an occupation. Through translation as-intellectual critique, Yan mended indigenous coordinates for gauging alien propositions and constructed a hybridized discourse for reforming indigenous epistemology and methodology. His manipulative translations, as he claimed in his last extended translation, were intended for metaphorical explication of a certain subject with the source text as a point of departure, rather than an end to return to. Ironically the repercussions of the manipulative evolutionary discourse he engendered became further manipulated by the newer generations and fuelled more violent changes in a system on the verge of a crisis. While this subsequently led to the disruption of the conservative Confucian poetics and the gradual reform agenda he had desired, the reexamination of his translations and translation practice sheds light on system regeneration and the inheritance of Chinese culture in a modern world. The presentation of Yan Fu's translations suggests that he followed the Confucian literary tradition, which allowed exegetical and eisegetical interpretation of classics and commentaries for narrating the dao, and attempted mediation of a changing dao through translation as intellectual critique. Hermeneutical rereading of his xin-da-ya translation principles in relation to the Confucian exegetical tradition frees the study of his principles from recurrent perspectives and offers a systematic approach to the study of xin, da and ya as core values in Confucian poetics meaning faith, decorum and virtue respectively. His exercise of Confucian cosmological faith through translation releases the source text for a dialogue with a broader cosmic text, whereby the interaction of time and tradition-bound discourses obliges the translator to repeatedly highlight and transcend his own interpretive horizons and move the physical text beyond its original psychological and historical contexts, evincing dynamic interaction with the reader. This perspective offers a philosophical dimension to translation and valourizes translation as a virtuous act of conduct in the Chinese tradition and as cosmological transference of concepts and images in human's pursuit of truth and being. The promotion of the complex notion of translation beyond the word itself to the realm of metaphor facilitates exchange between languages and systems at the level of tertium comparationis and enables reasoning at the level of the universal logos. In the present study of Yan Fu, this helps to avoid recurrent arguments and leads to more balanced and constructive perspectives for the future development of a major research topic in Chinese translation studies. It also opens the possibility of exchange between a traditional theory and modern theories and between the Chinese translation tradition and other traditions.

This multiple ethnographic case studies aims to investigate the critical literacy which emerged and emanated in the Chinese classrooms using drama as pedagogy. Drawing on the perspectives of Critical theories, Bakhtin Mikhail's dialogism, and also the literatures on critical literacy, this study argues that there is disparity of statuses of languages, knowledges, cultures and peoples within the Chinese language classrooms. Considering that indoctrinated teaching, official Chinese language and functional literacy are deeply ingrained within Chinese education, this study explore the efficacy of drama to promote pupils' voices and transform the Chinese language education. Concepts grounded in dialogism such as habitus, anwerability, voice, carnival were applied to constitute a theoretical frame for data analysis. Finally, six Chinese classrooms were selected as cases for in-depth discussion. It was found that there was an absence of dichotomous practice of critical dialogical literacy when drama was used. Instead, shades of grey of criticality and dialogicality were identified within those case study classrooms, showing that the dynamic and intricate power relations between pupils and teachers, as well as the interplay between the official language, culture, knowledge and habitus and those of the unofficial. The results also revealed that the more drama was applied in the classroom, more lively and carnivalesque the classroom was, and hence a higher degree of criticality and dialogicality. It was found that drama allows pupils to participate and create their learning content and environment. In addition to the use of drama, the use of space, the classroom order, the teaching materials, the classroom talk and discussion, the pupils' bodily response all are crucial for giving rise to a dialogic space for drama to take place. All these elements worked as the integral architectonics which affected the emergence and development of pupils' voices.