This thesis deals with the problems of Literary translation nameLy: subjectivity in the interpretation of the original message, the question of stylistic faithfulness and flexibility as regards the form of the original text I and the extreme notion of the impossibility of an adequate translation. It also approaches the problem of equivalence and that of translation units which are raised by the translation process itself and are therefore reLevant to the probLems of literary translation. The beginning of the thesis entitled 'A Brief and General Review of Translation Theory' gives a brief account of the history of. translation theory. It also considers the ambiguity of the process of translation and presents a brief description of the different types of translation. The first chapter, is devoted to the problem of equivalence. Equivalence is approached in terms of. the dichotomy sty1lstic vs. communicative equivalence. This bipartite division is investigated to see whether it can be applied in the transLatioh process. The second chapter is devoted to the problem of translation units. Special emphasis is put on the difficulty of defining translation units because of the subjective nature of the translation process. A possible solution to this problem is suggested. - The third chapter deals with the question of subjectivity in the interpretation of the meaning of a source language literary text. Special emphasis is put on the relationship between the meaning of the source language text and the author's concepts which condition it. Such relationship is investigated in order to see whether it can help the translator to avoid a speculative and subjective interpretation of the original message. The fourth chapter discusses the questiorr of faithfulness and flexibility as regards the form of a source language literary text. In this study, the translator's dynamic role in reading the original text is highlighted. The consequence of such dynamic role, as regards faithfulness and unfaithfulness to the form of the original version, is analysed. The fifth chapter considers the extreme notion of the impossibility of an adequate translation'. The quality of a literary translation is assessed not in terms of its identity to the stylistic effect of the original text but in terms of its approximate correspondence to it. Such criterion is suggested as an appropriate means of assessing the adequacy of a literary translation and consequently the extreme notion of the impossibility of an adequate translation' is found to be irrelevant. - A comparison between the original English version of Gibran KahliL Gibran's The Prophet and its two Arabic translations is given as an illustration to most of the views and suggestions made in this study.

This study considers how examining the Popular Front movement against fascism in Britain sheds new light on thirties leftist fiction. It brings into view a range of critically neglected texts, focusing on the work of John Sommerfield, Arthur Calder-Marshall, Jack Lindsay, Lewis Jones and James Barke. The thesis shows how their fiction relates to and participates in a mobilisation of cultural forces against fascism both at home and abroad. The thesis is divided into three parts. Part One, ‘Realism and Modernism’ begins by examining how British writers negotiated the respective claims of the developing Soviet aesthetic of socialist realism, the mobilisation of European intellectuals against fascism and the heritage of literary modernism (chapter one). These currents of thought are then explored through readings of John Sommerfield’s May Day (chapter two) and Arthur Calder-Marshall’s Pie in the Sky (chapter three). Part Two, ‘On English History’, discusses leftist writings of the history of England under the rubric of anti-fascism; at its heart is a reading of Jack Lindsay’s trilogy of English historical novels (chapter four). Part Three, ‘Class, Nation, People’, first examines the ‘national’ turn in Communist politics as it was negotiated in the work of the Scottish novelist James Barke (chapter five), before turning to the fiction of the Welsh proletarian novelist Lewis Jones (chapter six). In both We Live and The Land of the Leal, the Spanish Civil War plays a key role in mediating the relationship between working-class historical experience and the demands of internationalist anti-fascism. The chief contributions are firstly a recovery and critical reconsideration of a range of marginalised works, and secondly a demonstration of how these novels can be read in terms of a radicalised and populist realist aesthetic, consonant with and interpretable in terms of the work of Georg Lukács in the 1930s.

This thesis focuses upon storytelling, examining processes of use and interaction as texts transform and migrate through medial boundaries. It aims to excavate new ways of considering the adapted text, and how theory may inform practice (and vice-versa) to produce an intermedial weave of both text and theoretical approach. The methodology is multidisciplinary, encompassing: adaptation studies, art, installation works, and convergent media, with analysis observing how these critical areas connect and intersect. The affordances each specific media provides is considered whilst also acknowledging that medial boundaries flex, being ‘indeterminate and flexible relative to surrounding environments’, or use.1 I examine points of connection between text, media and user, and ask ‘what that space, that necessary difference, enables’, in the manner of how we explore, view, and navigate ever-shifting adaptational frameworks.2 The text here is considered as being in motion, as it morphs into new forms and moves across textual borderlines. It is this aspect of cross-pollination, or textual blend occurring through media, that is the focus of the thesis.

Primarily, this dissertation provides a critical text of the hexaplaric fragments of Job 22-42, which updates the previous editions of Field (1875) and Ziegler (1982), and which may serve as the fascicle for the second half of Job for The Hexapla Project. The critical text includes (1) extant readings of the Three, (2) Aristarchian signs' material, and (3) other materials usually related to the Hexapla. The project includes all relevant and available evidence from Hebrew, Greek, Latin, Syriac, and Armenian sources. Chapter 1 provides a summary of the history of the Hexapla and hexaplaric research. This chapter also presents the methodology for the project and an introduction to interpreting the apparatuses. Chapter 2 gives a full listing and description of the textual witnesses used for the project. These witnesses include the text groups of Ziegler's Edition, but, regarding the catena tradition of Job, this chapter provides an update to the status questionis by providing a brief history of the catena of Job in past hexaplaric editions and a new way forward. Chapter 3 provides the critical text. The Hebrew and Greek lemmas are listed first, followed by the hexaplaric attribution and lemma. All variants to the attribution and lemma are listed in the appartuses underneath along with editorial notes. Chapter 4 contains the readings that are of dubious significance for the Hexapla of Job. These readings are anonymous in the margins of manuscripts, which preserve hexaplaric readings and, therefore, they are included in this separate chapter. Chapter 5 gives a summary of the preliminary results of the project. This chapter focuses on those instances where Ziegler's Edition has been updated with regard to (1) new fragments and attributions, (2) revision of attribution and lemma, (3) revised attributions, (4) revised lemma, and (5) removed readings.

This essay is a qualitative study that examines seven teachers ́ views on argumentative texts. The aim is to examine how teachers work and discuss argumentative texts, and how they work to develop students ́ writing. The main question is: What are the teachers experience, perception and attitude about working with argumentative text? Furthermore: What specific features are important when they mark this type of text? : How do teachers work with formative grading in terms of writing this type of text? Research shows that Swedish students ́ ability to write argumentative texts are inadequate. This study shows that teachers work varied and that they have a positive attitude to the subject. But it also shows that they focus on different abilities when they mark argumentative texts. Some teachers focus on linguistic correctness, while others focus on argumentation, which leads to different marking conventions on the same text. It is also noted that the interviewed teachers do not have a common language when they talk about argumentation, even though the essence is the same.

Abstract My thesis aims to discuss the ¡§creation¡¨ issue in Oscar Wilde¡¦s The Picture of Dorian Gray. Depicting how Dorian is made a decadent hedonist, the novel is generally regarded by critics as a story of creation, in which what is created is not only the magical painting but the hero as well. Only through his image mirrored in the painting Basil offers can Dorian come to know himself; the hero is ¡§produced¡¨ as what he is by his friends. Thus, to discuss how this creation of the hero takes place, I will employ Jacques Lacan¡¦s theory of the mirror stage, along with Roland Barthes¡¦ insight of ¡§textuality.¡¨ ¡§Mirror, Text and the Symbolic Matrix.¡¨ By suggesting these three interlocking axes I seek to outline the process of creation that governs the novel. Through his image mirrored in the picture, Dorian comes to know himself. He identifies with the image and grows. However, the painting that reveals Dorian to himself is an artifact produced by Basil. What Dorian identifies with is a ¡§text¡¨ he ¡§reads¡¨ in Basil¡¦s work, an other. Seeing how he changes the portrait, ¡§writing¡¨ it with his ¡§passions and sins,¡¨ Dorian comes to enter the symbolic realm. Yet it is also through such a move that Dorian is ¡§objectified in the dialectic of identification with the other¡¨ as Lacan suggests. He is inserted into the chain of signifiers, in which the ¡§real¡¨ Dorian is ceaselessly replaced. In The Picture of Dorian Gray, it is through the complex work of texts and the interplay of influences that the hero is created; by analyzing these interactions I would like to disclose the creation issue. In my first chapter I begin by re-examining the relationship between Henry and Dorian, through which I aim at illuminating the characters¡¦ function as ¡§floating signifiers.¡¨ I proceed to throw light on Basil, the creator of Dorian¡¦s image, in chapter two: by which I seek to reveal Basil¡¦s influence over Dorian. In chapter three I would analyze how Dorian¡¦s romance with Sibyl influences him¡Xand what Sibyl signifies to him, while I would also discuss the significance of James Vane (Sibyl¡¦s brother). The fourth chapter is a discussion dedicated to the picture, which functions not only as a Lacanian mirror but becomes the canvas upon which Dorian and Basil compete writing¡Xwhile both are ¡§written¡¨ by the text they produce. To conclude, I would re-examine the nature of text: to which man is both its cause and its effect.

The thesis looks at the origin and development of Lancashire dialect literature between the publication of John Collier's ('Tim Bobbin') A View of the Lancashire Dialect in 1746, and the death of Allen Clarke ('Teddy Ashton') in 1935. The thesis is partly chronological, paying particular attention to the largely unexplored period of dialect writing between the 1890s and the 1930s, which suggests that earlier assessments of dialect literature need revision. The period before the First World War witnessed the development of a dialect literature closely linked to the labour movement in Lancashire, and contributed to the development of a distinctive socialist culture. For a time at least, dialect literature escaped from the middle class patronage which characterised it in the 1850s and 1860s, aided by the existence of an independent, Lancashire-based, press. Dialect literature was never a pure, unadulterated 'voice of the people', and it was used both by middle and working class social forces to support rival value systems. An argument in dialect suggested a practical, common sense, wisdom, regardless of the actual message. Dialect poetry was used by different writers to support imperialist adventures, Irish home rule, left-wing socialism, and to oppose strikes, women's suffrage, and restrictions on access to the countryside. The literature represented divisions within the working class, as well as attempts from the middle class to influence it. Differing class and political standpoints were, on occasions, transcended by a wider regional consciousness in which dialect had a prominent place. Particular themes within dialect literature are explored, contributing to current debates on class, identity, and gender. The treatment of women, war and imperialism, work, and the 'Cotton Famine' of 1861-4 are examined in separate chapters. Selfcriticism, and defences of dialect writing, are looked at in Chapter 6 on "Defending Dialect".

This study attempts to analyse the process of translation and to explore its phases (Analysis, Transfer, Synthesis ) and its related aspects. Translation theory is usually addressed as if languages alone were at stake. In contrast to most studies on transaltion, this study is devoted to analysing the process of translation rather than to a comparative analysis of two languages. The study is set up on the basis of communication theory in general, and draws upon various linguistic theories and other language—related disciplines such as psycholinguistics, semiotics, etc. The basic suggestion posited is that translation should be viewed as a special case of communication process. Four models of the translation process are presented and discussed. All were found to be inadequate in representing the process as a whole (in its entirety). Thus, a more comprehensive representation of the process of translation which takes into consideration various factors is proposed. The representation proposed describes the process of translation as a complex network of operations based on linguistic and extralinguistic factors. It is argued that the main issue in translation theory should not be whether to translate literally or freely but how we can achieve an optimum translation which is the approach taken in this study. It is also hoped that this study may be of benefit to those interested in teaching translation and training would —be translators. It is also recognized that further research is required in the area of the mental processes involved in translation. The motivation for this study is the need felt for clarifying and describing the process of translation in order to improve the quality of translation and to design consequently an adequate syllabus for teaching translation.

Applying conceptual ideas of memory and propaganda, this study intends to shed light on feature films produced during the Third Reich which gave prominence to the Great War. Since the National Socialist movement presented an image of itself as not only part of the tradition of the 'undefeated German soldier' of the First World War, but also sought to rectify the perceived political injustices of the conflict, this study defines 'Great War films' as not only those which were set during the conflict, but also productions which used the immediate aftermath of the war and the 'post-war period' as the reference points for their plots. By using the National Socialists' own very broad conception of what the Great War signified, this study has identified a corpus of around fifty films which are the main object of the analysis. The principal question which the thesis intends to answer is: How did National Socialist film define the Great War, in what way did it portray the experience and consequences of war, and what did it attempt to communicate about that conflict and its aftermath? In order to provide an answer, attention will be given to the censorship process and other efforts to influence film-making. At the centre of the study is the analysis of specific features which recurred in the majority of the films: common to the two major categories of film were points of consistency in the portrayal of various 'enemies', women and soldiers; also significant were the ways in which the experience of war and peace were portrayed; more common to films dealing with the war were references to the hotly disputed issue of 'war guilt'; more common to the films dealing with 'post-war' was the connection made between defeat and the prospect of a brighter future under the National Socialists.

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