Note: Page 387 is missing from this electronic document because it is missing from the original archival version. / This study presents an Anthology of Modern Arabic Poetry from 1945 to 1984, selected and translated into English, containing poems by thirty-five poets who represent diverse regions of the Arab world. A critical introduction was designed to provide the Western reader with a brief overview of the literary, cultural, and political factors which have shaped the modernist movement in Arabic poetry of the past four decades. The “new poetry” is discussed in terms of form, the expansion of mythological interest which provided a common ground for the talents of the influential “Tammuzi poets,” and the relations between politics and poetry. Theories of Arabic poetic modernism have been examined with reference to modernist movements in the West which have both inspired and repelled Arabs in the search for a contemporary poetic form and idiom. / Cette etude presente une anthologie choisie de la poesie arabe moderne de 1945 a 1984, traduite en anglais, et regroupant des oeuvres de trente cinq poetes qui representent des regions diverses du monde arabe. Une introduction critique offrira au lecteur occidental un survol des facteurs litteraires, culturels et politiques qui ont fagonne Ie mouvement moderniste dans la poesie arabe des quatre dernieres decades. La "poesie nouvelle" est commentee en termes de forme, d' elaboration des interets mythologiques qui ont fourni un terrain commun aux influents poetes "Tammuzes," et de relations entre politique et poesie. Les theories du modernisme arabe en poesie sont etudiees en rapport avec les mouvements modernistes en Occident, mouvements qui ont a la fois inspire et repousse les Arabes qui cherchaient un langage et une forme poetiques contemporains.

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Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa. / First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa. / First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa. / First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

M.Tech. / Objective: Translation and validation of the Afrikaans version of the Roland Morris Disability Questionnaire and the Oswestry Disability Index. Methods: The English questionnaires were translated into Afrikaans. The translations were then scrutinized by a focus group in order to determine its face validity. After face validity was established, the content validity was determined by two subject experts. Both the original and the translated versions of the questionnaires were given to a study group to complete on two separate occasions. The results from the study group were then put through various psychometric evaluations in order to determine its concurrent validity and reliability. Results: Results indicated that the Oswestry Disability Index had a significant level of reliability (α=0.830) and although the reliability of the Roland Morris Disability Questionnaire was below a significant level (α<0.7) it was still deemed reliable as it corresponded with its English counterpart. Both the Roland Morris Disability Questionnaire and Oswestry Disability Index indicated significant levels of concurrent validity; however the Roland Morris Disability Questionnaire seemed to have a higher level of concurrent validity. Conclusion: Both the Roland Morris Disability Questionnaire and the Oswestry Disability Index were translated successfully and can now be used within the Afrikaans population as an alternative to the English versions. Low back pain is a very common medical problem with a great impact on a patient’s health and quality of life. According to a review conducted by Papageorgiou et al. (1995), 60-80% of the general world population will suffer from low back pain in some stage of their life. In South Africa, De Wet, Losco and Moodley (2003) conducted a study on the incidence and prevalence of low back pain on 355 ABSA Bank and Unibank employees. The results of the study showed that the lifetime incidence of low back pain was 63%, the 6 month prevalence of LBP was 41% and the point prevalence of LBP was 9.6%. Treatment was sought by 46.94% of the sample population primarily from pharmacies, chiropractors, medical doctors, and physiotherapists. In addition, the study also showed that this condition is costing the South African economy millions each year due to lost working days as a result of absenteeism. As a result, disability questionnaires are increasingly used for clinical assessment, outcome measurement of treatment of low back pain. However, the use in different cultural groups has led to the need for the translation and the cross-cultural adaptation of these questionnaires to aid practitioners in the accurate assessment of low back pain.

Note: Page 387 is missing from this electronic document because it is missing from the original archival version.

本論文以民國初年六本通俗文學雜誌的翻譯文本為研究對象，首先根據雜誌翻譯文本及其歷史資料，勾勒雜誌翻譯活動的輪廓，繼而從雜誌翻譯追溯雜誌文人的思考與互動過程，展現當時文化場域的動態場景。論文嘗試回歸雜誌翻譯之歷史語境，從中觀察二十世紀初的中國文化圖景；研究的視野，與翻譯研究中以系統為研究對象的理論有共通之處。論文借助系統理論中「規範」、「經典」等概念來探討雜誌翻譯，同時亦注重文本與概念之歷史淵源；相關文本解讀與概念分析，皆以雜誌原始語境為背景。此外，論文以該時期新文化刊物的翻譯現象為參照，追溯通俗與精英文人通過翻譯而進行的對話與互動，藉此反思雜誌翻譯之於文化場域演變的作用。所涉之對比分析，有助把通俗文學雜誌的翻譯活動重置於民初文化版圖，既為近代翻譯史填補一點空白，亦可在目前以新文化精英為主線的現代文學史論之外，提供另一種敍述歷史的角度。 / Based on a historical study of the translation in six popular literary magazines published in early Republican Shanghai, the thesis attempts to explore dynamic cultural landscape of early modern China by reconstructing the ecology and patterns of magazine translation. In line with the perspectives of system theories in Translation Studies, translation is viewed as both functional constituent and shaping force in its cultural settings. With a keen interest in the historicity of texts and notions, the thesis examines magazine translation by analyzing key concepts in system theories such as ‘norm’ and ‘canon’ in the context of early Republican printed media. Translated texts in the magazines under study are also analyzed in comparison with those published in May-fourth journals in the same period. Magazine translation is then presented as a site of conversation, competition and mutual positioning between popular and elite intellectuals. Offering to fill a gap in Chinese translation history with its reconstructive efforts, the thesis proposes an alternative delineation of cultural history against the ‘grand narrative’ that dismisses the literary practices in Shanghai popular magazines as mere residues of the late Imperial era. / Detailed summary in vernacular field only. / 叶嘉. / Thesis submitted: November 2012. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 208-214). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Ye Jia. / 緒 論 --- p.1 / Chapter 第一節 --- 課題緣起 --- p.1 / Chapter 第二節 --- 理論架構 --- p.4 / Chapter 第三節 --- 研究範圍 --- p.8 / Chapter 第一章 --- 清末民初「通俗」的流變 --- p.13 / Chapter 第一節 --- 「通俗」的定義 --- p.13 / Chapter 第二節 --- 清末到民元：平民教育的初衷 --- p.16 / Chapter 第三節 --- 袁世凱復辟：以「通俗」為名的言論控制 --- p.18 / Chapter 第四節 --- 文學革命之後的「通俗」：从中性到貶義 --- p.20 / Chapter 第五節 --- 上海雜誌界的「通俗」：從啓蒙到暢銷 --- p.22 / Chapter 第六節 --- 解讀「精英」與「通俗」：從對立到互動 --- p.32 / Chapter 第二章 --- 雜誌的外在環境 --- p.37 / Chapter 第一節 --- 雜誌的出版環境 --- p.37 / Chapter 第二節 --- 雜誌的文人圈子 --- p.45 / Chapter 第三章 --- 從雜誌文本看翻譯規範：譯者形象 --- p.55 / Chapter 第一節 --- 從譯書廣告看譯者 --- p.58 / Chapter 第二節 --- 從譯作刊登格式看譯者 --- p.69 / Chapter 第三節 --- 從譯序和譯後記看譯者 --- p.75 / Chapter 第四節 --- 早期《新青年》的譯者形象及其啓示 --- p.82 / Chapter 第四章 --- 從雜誌文本看翻譯規範：從「不忠」到「忠實」 --- p.87 / Chapter 第一節 --- 1910年代：「不忠」為常 --- p.89 / Chapter 第二節 --- 1910年代：抗拒「直譯」 --- p.94 / Chapter 第三節 --- 《新青年》：「忠實」的提出 --- p.99 / Chapter 第四節 --- 1920年代：「忠實」的流行 --- p.102 / Chapter 第五章 --- 從雜誌文本看翻譯規範：「時效」與「實用」 --- p.109 / Chapter 第一節 --- 緣起晚清 --- p.109 / Chapter 第二節 --- 演入民初 --- p.112 / Chapter 第三節 --- 譯叢：獵奇的「時效」與「實用」 --- p.115 / Chapter 第四節 --- 西笑：諧趣的「時效」與「實用」 --- p.126 / Chapter 第六章 --- 「時效」的延續：視覺文本的翻譯 --- p.135 / Chapter 第一節 --- 雜誌插圖：西方世界視覺化 --- p.135 / Chapter 第二節 --- 影戲小：電影時代的先聲 --- p.142 / Chapter 第三節 --- 「雜誌翻譯」：規範與定義重構 --- p.153 / Chapter 第七章 --- 翻譯規範及經典與文化場域之互動 --- p.159 / Chapter 第一節 --- 不拒「經典」，不要「主義」 --- p.160 / Chapter 第二節 --- 重釋林紓：「新」「舊」的對立 --- p.173 / Chapter 第三節 --- 熱議《娜拉》：「新」「舊」的對話 --- p.190 / 結 語 --- p.197 / 後 記 --- p.202 / 徵引書目 --- p.208

A Translation project submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements of the degree of Master of Arts (Translation). / This case study investigates and analyses the transfer of the socio-political elements of meaning, in the translated text, A Season in Paradise (1985). The study attempts to discover and account for any factors which may have impacted on the transfer of the socio-political elements from the source text. to make the study as systematic and as objective as possible, an adaptation of the model of analysis proposed by Lambert and Van Gorp is used. Lambert and Van Gorp are theorists who fall within the branch of translation studies called Descriptive Translation studies. The adaptation of the Lambert and Van Gorp model takes into account the factors which could have influenced the translator's reading of the literary text and which could have impacted on her translation strategy. The macro-analysis establishes the background to the translation and compares the physical features and the publishing circumstances of the target text with that of the source text. It contains a discussion on any similarities or differences found. On the micro-level, specific extracts with a socio-political theme are compared using selected linguistic concepts from Halliday's An Introduction to Functional Grammar as interpretive tools. The shifts discovered here were linked to the discoveries made in the macro-level analysis. It: was determined that prevalent reading strategies at the time did to a limited extent influence the transfer of the socio-political elements of meaning present in the text. This study is done to shed more light on the process of translating a literary work and the factors which may influence this process. / Andrew Chakane 2018

This thesis examines Seamus Heaney’s approach to translation with specific reference to Sweeney Astray, The Cure at Troy, and Beowulf. An assessment of Heaney’s translations, and the ways in which they relate to his poetry, is essential to an understanding of his work as a poet. This thesis demonstrates the centrality of translation to Heaney’s oeuvre as an effective means to comment on his Northern Irish socio-political context without producing political propaganda. Translation is a valuable means for Heaney to elucidate his contemporary experience by considering it in terms of the recorded past captured within his chosen translations. Instead of comparing the three translations with their original texts, this thesis concentrates on Heaney’s translations as a continuation of his own creative work and as catalysts for further poetry. The translations are explored in chronological order to allow a sense of Heaney’s development as a translator and his efforts to remain critically attuned to the Northern Irish political situation. The first chapter examines Heaney’s translation of the Gaelic poem Buile Suibhne, which is published as Sweeney Astray. In this first major act of translation Heaney recognises the political role that translation is able to play. He draws attention to the protagonist’s sense of cultural ease in both Britain and Ireland, which he argues is exemplary for the people of Ulster and renders the narrative particularly accessible to a Northern Irish readership due to his anglicisation of the text, which is intended as a reminder to both Catholics and Protestants of their shared identity as Irishmen. The second chapter focuses on Heaney’s translation of Sophocles’ Philoctetes, entitled The Cure at Troy. Heaney’s translation contextualises the Ancient Greek concern for personal integrity in the face of political necessity, a situation relevant to his own complex relationship with Northern Irish politics. His alterations to the text accentuate the positive aspects of the play, suggesting the very real possibility of social change within the seemingly constant violence of Northern Ireland. The third chapter explores Heaney’s engagement with the Anglo-Saxon epic poem, Beowulf, as a means of coming to terms with the complex history of Irish colonisation through language. This chapter assesses Heaney’s incorporation of Irish dialectal words into his translation, which lend the poem political weight, and yet prove to be contextually appropriate, rendering Heaney’s Beowulf a masterpiece of readability and subtle political commentary.