This study examines the strategies used in the translation from French to Swedish of an academic text written in the Central African Republic. It focuses on the two opposing translation strategies of domestication and foreignization as described by Venuti (2017) and investigates whether Venuti’s theory about foreignization as a way of resisting racism and imperialism is applicable to translations beyond the literary field. The source text of the translation is written in a former colony, in the language of the ex-colonizer, which makes it particularly interesting in terms of cultural features and brings to the fore the need of taking aspects related to racist and imperialistic ideas into account. Based on an analysis of the translation situation, several features of the translated text are being examined with regards to translational choices connected to domestication and foreignization. The results show that even though both approaches are employed, domestication is clearly the dominating strategy, and this preference for domestication is often based on an effort to promote the content and the academic value of the source text. In other words: contrary to Venuti’s ideas, domestication rather than foreignization is used as a way of resisting racism and imperialism in this particular case. Because of the narrowness of the text material investigated, no general conclusions can be drawn from this study. Some suggestions are however made at the end about broadening the general translational research framework and blur the line between literal and non-literal translation, as proposed by Vandaele (2015), and about broadening and deepening the research on the translation of non-literary hybrid texts.

International assessments indicate that Swedish students achieve high results in reading, writing and understanding English. However, this does not mean that the students display oral proficiency, despite an emphasis on functional and communicative language skills in the current English Syllabus. While a previous literature study by this researcher has shown that authentic texts are a way to increase these skills, most of the results shown are from an international viewpoint. Thus an empirical study was conducted within Sweden with the aim to examine the use of authentic texts in the Swedish EFL upper elementary classroom. Twelve teachers have answered a questionnaire on how they use authentic texts in their language teaching, as well as their opinions about these as a teaching tool. Additionally, 37 students have answered a questionnaire on their attitudes about authentic texts. Results indicate that all of the teachers surveyed see authentic texts as an effective way to increase students’ communicative competence and English language skills; however, only a few use them with any frequency in language teaching. Furthermore, this seems to affect the students’ attitudes, since many say that they read authentic texts in their free time, but prefer to learn English out of a textbook at school. These findings are based on a small area of Sweden. Therefore, further research is needed to learn if these opinions hold true for the entire country or vary dependent upon region or other factors not taken into consideration in this study.

Whereas past and current digital projects in ancient language studies have been concerned with the annotation of linguistic elements and metadata, there is now an increased interest in the annotation of elements above the linguistic level that are determined by context – like figurative language. Such projects bring their own set of problems (the automatisation of annotation is more difficult, for instance), but also allow us to develop new ways of examining the data. For this reason, we have attempted to take an already annotated database of Ancient Egyptian texts and develop a complementary tagging layer rather than starting from scratch with a new database. In this paper, we present our work in developing a metaphor annotation layer for the Late Egyptian text database of Projet Ramsès (Université de Liège) and in so doing address more general questions: 1) How to ‚tailor-make’ annotation layers to fit other databases? (Workflow) 2) How to make annotations that are flexible enough to be altered in the course of the annotation process? (Project design) 3) What kind of potential do such layers have for integration with existing and future annotations? (Sustainability)

Thesis (MA)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: This study assumes the theoretical framework of text construction as advanced by Grabe and Kaplan (1996) for the analysis of Sepedi texts of government speeches from the magazine: ANC TODAY. The theory that is used in this study invokes the linguistic elements that can be used by both the teachers and learners to critically analyse texts in classrooms. This genre-theoretic approach is employed as framework, for analysing the linguistic, rhetorical and discourse properties for Sepedi texts. It also addresses the parameters of the ethnography of writing advanced by Grabe and Kaplan: "who writes what to whom, for what purpose, why, when and how?' The text construction analysis executed in the study enable the learners to acquire skills, knowledge and values of outcomes-based language teaching. The information structuring of text analysis and construction enables learners to write, read and use language structure and conventions for learning and career pathways. The textlinguistic strategies for analysing written texts in language teaching enables learners to analyse texts successfully and gain an awareness of language use in texts. / AFRIKAANSE OPSOMMING: Hierdie studie aanvaar die teoretiese raamwerk van tekskonstruksie soos voorgestaan deur Grabe en Kaplan (1996) in die analise van Sepedi tekste van regeringstoesprake uit die tydskrif ANC TODAY. Die teorie wat aanvaar word, gebruik die linguistiese elemente wat aangewend kan word deur taalonderwysers sowel as taalleerders om tekste krities te ontleed. Die genre-teoretiese benadering word ingespan as raamwerk vir die analise van die linguistiese, retoriese, en diskoerskenmerke van Sepedi tekste. Dit spreek ook die etnografie van skryf, soos voorgestaan deur Grabe en Kaplan, aan: wie skryf wat aan wie, vir watter doel, wanneer, waarom, en hoe. Die tekskonstruksie analise uitgevoer in hierdie studie stel leerders in staat om vaardighede, kennis en waardighede van uitkoms-gebaseerde taalonderrig te verwerf. Die informasie strukturering in teksanalise stel leerders in staat om te lees, skryf en praat in hulle toekomstige beroepe. Die tekslinguistiese strategieë vir die analise van geskrewe tekste in taalonderrig stel leerders in staat om tekste suksesvol te ontleed en 'n bewussyn te ontwikkel van taalgebruik in tekste.

Thesis (MDram)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis sets out to provide comparative analyses of selected play texts and their film adaptations in order to demonstrate the significant role that editing techniques play in translating the play text’s dramatic elements into the visual language of film. The purpose of a film adaptation is to present a new interpretation of the play text that audiences will find engaging. In order to establish how the film medium is potentially able to enhance or alter the audience’s understanding of the original source text, the study turns to the field of semiotics to determine how the play text’s themes, plot and characters – embodied in a verbal sign system – are adapted into the audio-visual sign system of film. While cinematography, production design and music are critical elements in film making, editing can be regarded as the distinctive and fundamental signifying practice in the construction of meaning in a film. This will be the point of departure in analysing how meaning is “translated” from one sign system into another in the process of adaptation. By manipulating the key relations between shots, editing is able to guide the audience’s understanding of the film narrative, amplify character development, and generate intellectual and emotional responses. Different editing conventions have therefore been developed to amplify the dramatic effect of the narrative and the filmmaker’s vision. The different effects that editing conventions create in the interpretation of a play text are demonstrated by comparing two cinematic versions of William Shakespeare’s Romeo and Juliet. The use of continuity editing techniques in Franco Zeffirelli’s 1968 film adaptation of Romeo and Juliet is compared to Baz Luhrmann’s use of modern MTV conventions in his William Shakespeare’s Romeo + Juliet (1996). Zeffirelli and Luhrmann both employ different editing conventions to amplify their “readings” of Shakespeare’s play text, thereby presenting an adaptation that their target audience will find engaging. The film adaptations of Shakespeare’s Romeo and Juliet therefore demonstrate the significance of different editing techniques in conveying meaning within a specific reception context. The series of reinterpretations of Christopher Isherwood’s Goodbye to Berlin (1939) illustrates how editing techniques are able to transfer Isherwood’s themes and political commentary on the rise of Nazism in Weimar Berlin across various texts and mediums, which include the film adaptation I am a Camera (1955) directed by Henry Cornelius, the Broadway musical Cabaret (1966) directed by Joe Masteroff, and finally Bob Fosse’s musical film Cabaret (1972). The comparative analyses of the above-mentioned source texts and their subsequent film adaptations demonstrate how different editing techniques are able to highlight new perspectives on the source material. Editing conventions are therefore highly significant in the creation of cinematic representations of the play text as they lead audiences to “read” the dramatic narrative within new contexts, using the visual language of film to create new insights that will complement the audience’s understanding and appreciation of the play. / AFRIKAANSE OPSOMMING: Vergelykende analises tussen gekose speeltekste en hul verwerkings vir film word in hierdie tesis uiteengesit om die betekenisvolle rol wat redigeertegnieke in die vertolking van die speelteks se dramatiese elemente in die visuele styl van die film speel, te demonstreer. Die doel met ’n filmverwerking is om ’n nuwe interpretasie van die speelteks aan te bied wat gehore vasgevang sal hou. Om te bepaal hoe die filmmedium die gehoor se begrip van die oorspronklike teks potensieel kan versterk of verander, gebruik hierdie studie die veld van semiotiek om vas te stel hoe die speeltekste se temas, intrige en karakters – beliggaam in ’n verbale simboolstelsel – aangepas word in die oudiovisuele simboolstelsel van die film. Terwyl filmfotografie, produksie-ontwerp en musiek kritiese elemente in die vervaardiging van films is, word redigering as die onderskeidende en fundamentele belangrike praktyk in die konstruksie van betekenis in ’n film geag. Hierdie is die vertrekpunt in die analisering van hoe betekenis “vertaal” word van een simboolstelsel na ’n ander tydens die verwerkingsproses. Redigering kan deur middel van manipulering van die sleutelverwantskappe tussen skote die gehoor lei om die narratief van die film te verstaan, karakterontwikkeling uit te brei en intellektuele en emosionele reaksies te skep. Onderskeie redigeerkonvensies is dus ontwikkel om die dramatiese effek van die narratief en die filmvervaardiger se visie te versterk. Die verskillende resultate wat deur middel van hierdie tegnieke in die interpretasie van ’n speelteks verkry word, word toegelig deur die twee filmweergawes van William Shakespeare se Romeo and Juliet te vergelyk. Die gebruik van kontinuïteit-redigeertegnieke in Franco Zeffirelli se 1968 filmverwerking van Romeo and Juliet word vergelyk met Baz Luhrmann se gebruik van moderne MTV-konvensies in sy William Shakespeare’s Romeo + Juliet (1996). Beide Zeffirelli en Luhrmann gebruik verskillende redigeerkonvensies om hulle “lees” van Shakespeare se speelteks toe te lig en daarmee ’n verwerking wat hulle teikengehoor vasgevang sal hou, te bied. Die filmverwerkings van Shakespeare se Romeo and Juliet demonstreer dus die belang van verskillende redigeertegnieke in die oordra van betekenis binne ’n spesifieke konteks waarin dit ontvang word. Die reeks herinterpretasies van Christopher Isherwood se Goodbye to Berlin (1939) illustreer hoe redigeertegnieke in staat is om Isherwood se temas en politieke kommentaar aangaande die opkoms van Nazisme in Weimar Berlyn oor verskeie tekste en mediums oor te dra. Insluitend hierby is die filmverwerking I am a Camera (1955) onder regie van Henry Cornelius, die Broadway musiekblyspel Cabaret (1966) onder regie van Joe Masteroff, en laastens Bob Fosse se musiekfilm Cabaret (1972). Die vergelykende analise van bogenoemde tekste en hul daaropvolgende filmverwerkings demonstreer hoe verskillende redigeertegnieke nuwe perspektiewe op die oorspronklike materiaal na vore kan bring. Redigeerkonvensies is uiters betekenisvol in die skep van filmiese voorstellings van die speelteks aangesien die gehoor daarmee gelei word om die dramatiese narratief binne nuwe konteks te “lees” deur gebruik te maak van die visuele styl van die film om nuwe insig te skep wat die gehoor se verstaan en waardering van die stuk aanvul.

This research was designed to investigate issues of quality in the reading of fiction of 11 – 16 year olds in school; this included the reading of fiction as part of the curriculum and private reading for pleasure. It is research which found its roots in the surveys of children’s reading habits carried out by Jenkinson (1946), Whitehead, Capey, and Maddren, (1977), Hall and Coles (1999) and Clark, Osborne and Akerman (2008). These surveys, over sixty years, show how attitudes to reading for 11 – 16 year olds, their reading habits and their preferred texts have changed. Judgements of quality in children’s chosen reading are implied in those studies but criteria for these judgments of quality are not defined. The National Curriculum (NC) for England (2008) explicitly refers to texts considered to be of high quality and lists prescribed texts and authors, but does not define what is meant by quality. The study was designed to investigate how teachers and students in secondary schools (11 – 16 year olds) in England conceptualised quality in the fiction used in class and for private reading. Individual teachers and groups of 11 – 16 year olds from four schools in the South-West of England were interviewed using semi-structured interviews. The interview data were analysed using a Cultural and Historical Activity Theory (CHAT) framework. The findings indicate that interpretations of quality are complex and often linked to examination syllabus requirements; the iterations of the NC for English in England; and discrete individual school and departmental needs. This can cause professional tension amongst teachers relating to the imposed rules, to external expectations and to the lack of teacher autonomy. The study offers new insights into how fiction for 11 – 16 year olds is used and conceptualised in school. This is represented theoretically through the framework of CHAT and in terms of the confusion at the intersection of boundary objects. The outcomes of the research will also contribute to clarifying how texts written for young adults may be judged and to the conceptualisation of a pedagogy to support the use of fiction with 11 – 16 year olds in school.

Syftet med denna uppsats är dels att undersöka de innebörder lärare ger undervisningen med faktatexter och att skriva faktatexter med egna ord på lågstadiet och dels att inom samma område undersöka om det finns några skillnader mellan den traditionella skolan och montessoripedagogiken. För att uppfylla syftet genomfördes kvalitativa gruppintervjuer med lärare från två pedagogiska inriktningar, montessoripedagogiken och den traditionella skolan.  Min undersökning visar att när det handlar om att skriva faktatexter och att utmana elever i de yngre åldrarna att skriva faktatexter med egna ord så skiljer sig inte montessoriundervisningen och den traditionella skolan specifikt. De resultat som framkom var att man inom båda pedagogiska inriktningarna utgår från elevgruppen när ett faktatextarbete startas upp samt anser att vikten av begreppsförståelsen är stor. När det kommer till att låta eleverna skriva faktatexter med egna ord visade undersökningen att alla lärare använder samma metod, nämligen att ta bort befintlig text och låta eleverna skriva det de minns. / The aim of this thesis is divided into two part. Firstly, the aim is to investigate what meanings teachers associate with the teaching of informative texts and their thoughts on pupils writing texts with their own words at primary school. Secondly, the aim is to investigate whether there are any differences between traditional education and Montessori education with respect to the latter aim. In order to fulfill this aim, qualitative group interviews were conducted with teachers from the two pedagogical orientations.  My survey shows that when it comes to writing informative texts and challenging students of the younger ages to write informative texts with their own words there are no major differences between the traditional approach and Montessori approach. The result also shows that in both educational settings the teachers start by learning what the students already know about the subject and proceed from there. They think it is important to teach the children new vocabulary as well. When it comes to letting students write informative texts using their own words, the survey shows that teachers from the both pedagogical orientations use the same method, namely to put aside the original text and let the students write what they remember.

The Digital Marmor Parium is a project of the Alexander von Humboldt Chair of Digital Humanities at the University of Leipzig (http://www.dh.uni-leipzig.de/wo/dmp). The aim of this work is to produce a new digital edition of the so called Marmor Parium (Parian Marble), which is a Hellenistic chronicle on a marble slab coming from the Greek island of Paros. The importance of the document is due to the fact that it preserves a Greek chronology (1581/80-299/98 BC) with a list of kings and archons accompanied by short references to historical events mainly based on the Athenian history.

The thesis is focused on discrediting texts on the personalities of Czechoslovak dissidents in years 1977-1979 and 1985-1988. It studies the historical background of these years and describes this problem in the way of critical discourse analysis. Therefore, there is used description of the historical period with analysis of texts in three newspapers, called Rude Právo, Mladá Fronta and Lidová Demokracie. The objective of the work is collection of texts of the newspapers in mentioned period and demonstration of typical discrediting text. First of all, there is pointed what it means "dissent". There are described groups and people, who were connected with these activities. Secondly, there is shown special cause about lawsuit with Václav Havel and Tomáš Řezáč. The perspective is focused on exceptional and special action which was linked with discrediting texts and official law. After that are summarized aspects and significance of discrediting texts. There is hope that this thesis dispels the complex problem of discrediting texts, and that the case for ideology developed through media is clear.

The present study aims to examine how teachers write polemical articles. This genre often occurs in national standardized tests in Swedish schools. The study seeks to analyze argumentative structures in the articles. It also categorizes assessment notes written by the teachers in response to each others’ articles, by interpreting response texts.     The examination shows that there is uncertainty among the teachers about how to create structures in argumentative text types. As a result the persuasive function of the texts suffers.     The teachers tend to comment on macro level findings in texts. However they grade each other’s texts with high grades referring to micro level components such as spelling, sentence structure and neat wording.