Abdullah Shah (1680-1757) was the birth name of the boy who would later become one of the most eminent Sufi poets of South Asia, and the master of Sufi lyrics in Punjabi—Bulleh Shah. Living during times of strife and major conflict between the Sikhs and the crumbling Mughal Empire, Bulleh Shah wrote poetry with an underlying humanist and tolerant philosophy that challenged the turmoil of his times. Blind to the bounds of religion and caste in an increasingly divided India, Bullah’s spiritual philosophy and his message of equality found voice in his kafis—a genre of poetry indigenous to the Indian subcontinent that can be seen as a form of folk ballad. This project offers translations of 15 kafis from his identifiable corpus, preceded by a substantial introductionFurthermore, the project is accompanied. Each kafi is presented in three translations—literal, functional, and oral. The selected kafis draw on the three dominant themes in his work—Ishq, rebellion, and freedom. Scans of the original kafis in Shahmuki script Punjabi have been provided. Furthermore, the project is accompanied by an interpretive composition of the translated kafi “What Times, What Strange Times,” which was a collaboration between the author of the thesis, Akshaya Tucker, and Jacob Scharfman.

Cento Probae is one the important works of late Roman literature, which had a great success both in the Middle Ages and in the humanism. This is evidenced by the large number of manuscripts and printed witnesses, to which it is possible to add two French translations from the middle of the 16th century. The main focus of this master's thesis is to propose a detailed comparison of the texts with regard to contemporary translation practice. Based on this analysis, the author examines the purpose of these translations, the audience for which they were intended and whether there is any connection between them.

No description available.

No description available.

Un système couvrant est un ensemble fini de progressions arithmétiques avec la propriété que chaque entier appartient à au moins une des progressions. L’étude des systèmes couvrants a été initié par Erdős dans les années 1950, et il posa dans les années qui suivirent plusieurs questions sur ces objets mathématiques. Une de ses questions les plus célèbres est celle du plus petit module : est-ce que le plus petit module de tous les systèmes couvrants avec modules distinct est borné uniformément? En 2015, Hough a montré que la réponse était affirmative, et qu’une borne admissible est 1016. En se basant sur son travail, mais en simplifiant la méthode, Balister, Bollobás, Morris, Sahasrabudhe et Tiba on réduit cette borne a 616, 000. Leur méthode a menée a plusieurs applications supplémentaires. Entre autres, ils ont compté le nombre de système couvrant avec un nombre fixe de module. La première partie de ce mémoire vise a étudier une question similaire. Nous allons essayer de compter le nombre de système couvrant avec un ensemble de module fixé. La technique que nous utiliserons nous mènera vers l’étude des symmétries de système couvrant. Dans la seconde partie, nous répondrons à des variantes du problème du plus petit module. Nous regarderons des bornes sur le plus petit module d’un système couvrant de multiplicité s, c’est-à-dire un système couvrant dans lequel chaque module apparait au plus s fois. Nous utiliserons ensuite ce résultat afin montrer que le plus petit module d’un système couvrant de multiplicité 1 d’une progression arithmétique est borné, ainsi que pour montrer que le n-eme plus petit module dans un système couvrant de multiplicité 1 est borné. / A covering system is a finite set of arithmetic progressions with the property that every integer belongs to at least one of them. The study of covering systems was started by Erdős in the 1950’s, and he asked many questions about them in the following years. One of the most famous questions he asked was if the minimum modulus of a covering system with distinct moduli is bounded uniformly. In 2015, Hough showed that it is at most 1016. Following on his work, but simplifying the method, Balister, Bollobás, Morris, Sahasrabudhe and Tiba showed that it is at most 616, 000. Their method led them to many further applications. Notably, they counted the number of covering systems with a fixed number of moduli. The first part of this thesis seeks to study a related question, that is to count the number of covering systems with a given set of moduli. The technique developped to do this for some sets will lead us to look at symmetries of covering systems. The second part of this thesis will look at variants of the minimum modulus problem. Notably, we will be looking at bounds on the minimum modulus of a covering system of multiplicity s, that is a covering system in which each moduli appears at most s times, as well as bounds on the minimum modulus of a covering system of multiplicity 1 of an arithmetic progression, and finally look at bounds for the n-th smallest modulus in a covering system.

This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter. The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible. The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories. / African Languages / D. Litt. et Phil. (African Languages)

On the assumption that different registers of translated drama have different functions and that they therefore present information differently, the aim of the present study is to identify textual features that distinguish an Afrikaans stage translation from a page translation of Shakespeare's The Merchant of Venice. The first issue addressed concerns the nature and extent of lexical cohesion in these two registers. The second issue concerns my contention that the dialogue of a stage translation is more "involved". (Biber 1988) than that of a page translation. The research was conducted within the overall Descriptive Translation Studies (DTS) paradigm but the analytical frameworks by means of which these aims were accomplished were derived from text linguistics and register variation studies, making this an interdisciplinary study. Aspects of Hoey's ( 1991) bonding model, in particular, the classification of repetition links, were adapted so as to quantify lexical cohesion in the translations. Similarly, aspects of Biber's (1988) multi-dimensional approach to register variation were used to quantify linguistic features that signal involvement. The main finding of the study is that drama translation register (page or stage translation) does have a constraining effect on lexical cohesion and involved production. For Act IV of the play an overall higher density of lexical cohesion strategies was generated by the stage translation. In the case of the involved production features analysed, the overall finding was that the stage translation displayed more involvement than the page translation, to a statistically highly significant extent. The features analysed here cluster together sufficiently to reveal that in comparison with an Afrikaans page translation of a Shakespeare play, a recent stage translation displays a definite tendency towards a more oral, more involved and more situated style, reflecting no doubt a general modern trend towards creating more appropriate and accessible texts / Linguistics / D. Litt. et Phil. (Translation Studies)

Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.

This study identifies a theological trajectory of first generation “believers” – those who allow the biblical text to speak authoritatively into their lives – within the Sindhi community of Pakistan. A passage from a contemporary translation of the New Testament in the Sindhi language – Luke 15:11-32, Jesus’ Parable of the Two Lost Sons – was presented in interview settings to discover how Sindhis express their faith as they consider the message of the parable. Culture texts generated by believers are compared to those generated by “traditional” Muslim Sindhis who do not accept the Bible as authoritative. Twenty–eight people identified as Sindhi believers were interviewed as well as twenty traditional Sindhi Muslims. Similarities and contrasts between the two groups are used to discover how the theological praxis of the believers is being impacted and how they are adjusting their view of God as they engage scripture. The description of theological trajectories that diverge from accepted traditional convictions is referred to as “mapping.” Six themes were identified from the interviews that are important for both groups while demonstrating distinct contrasts and similarities. The themes are (1) God is compassionate/kind/merciful/loving beyond our imagination, (2) God forgives his servants who repent, (3) Concepts of rewards, punishment and the fear of God, (4) The relationship of human beings with God (child versus servant), (5) Issues of justice, honor and status, and (6) The importance of obedience to God. An evaluation of the six themes revealed one overarching trajectory: a shift from a dominant master–servant view of the Divine–human relationship to a father–child paradigm. The research affirms that the shift to a biblically shaped view of God is not disconnected from previous beliefs, but is based on and shaped by a priori assumptions held by members of society. Commitment to the Bible as God’s word speaking authoritatively to believers creates a shift or trajectory of faith so that current perspectives, symbols and metaphors of God are being reformed and reconfirmed through the believers’ interaction with the Sindhi translation of scripture. / Christian Spirituality, Church History & Missiology / D. Th. (Missiology)

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics & Modern European Languages / D. Lit. et Phil. (Spanish)