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The Central African Republic is a small country located in the center of Africa. It is a very young nation in terms of political independence, but as the CAR emerges as a nation, it has begun to produce valuable authors who write for the French speaking world. This thesis is an attempt to bring part of the CAR's literature to the United States.Le Silence de la Foret was written by Etienne Goyemide and not only describes the culture of the mainstream population of the CAR, but also that of Pygmies. Although the book is a novel, the cultural aspects are not fictitious. This thesis is a translation of Goyemide's novel into English so that it can be made accessible to the English speaking world.The process of translating such a literary work required and increased knowledge and understanding of both French and English. In attempting to capture the style and tone of the author, careful attention was given to such aspects as tense, syntactic structures, register and vocabulary. A chapter of the thesis is devoted to describing the problems encountered during translation and the reasoning for the translations chosen. / Department of English

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Ce memoire est avant tout un travail de traduction. Le livre a traduire, Ma Vie, mon Cri de Rachida Yacoubi, est tres long (355 pages). 11 fallut beaucoup de travail, de revision et de discussion avec mes deux directrices pour finir la traduction. Je suis tres reconnaissante de leurs conseils et je tiens vivement a remercier Vanessa Everson et Carole Beckett. J'appris davantage en discutant certains problemes precis et epineux avec elles, qu'en etudiant la theorie de la traduction. Cette tache nous a meme diverti puisque la traduction est souvent comme un jeu stimulant si on se passionne pour les mots et I'expression exacte! En depit des difficultes associees a un changement de directrice, je profitai de deux points de vue, parfois differents, mais toujours interessants et enrichissants. L'aspect pratique de mon memoire fut renforce par les cours sur la theorie de la traduction (Translation 810, anime par le Professeur D.Z. van den Berg). L'activite de traduction est un art plutot qu'une science dans le sens que la traductrice est obligee de se servir de ses connaissances linguistiques (mesurables et ainsi scientifiques), mais surtout de son imagination afin de trouver le mot / la phrase juste pour recreer, pour ne pas dire reinventer, I'atmosphere et les emotions transmises par un autre1 . La traduction parfaite n'existe pas. C'est pourquoi j'ai employe le verbe «finir» au lieu de « perfectionner ». En effet, ce n'est peut-etre pas vraiment possible de « finir » une traduction, mais en fin de compte, la question du temps disponible s'impose. 11 me semble que Newmark exprime bien mon dilemme : « You can compare the translating activity to an iceberg: the tip is the translation - what is visible, what is written on the page - the iceberg, the activity, is all the work you do, often ten times as much again, much of which you do not even use. »2 En ce qui concerne ce memoire, c'est la qualite de la traduction meme de Ma Vie, mon Cri qui est donc d'une importance primordiale. D'oll, pour juger cette traduction, il est imperatif de se reterer au texte original.3 Dans I'introduction je peins le contexte general de Ma Vie, mon Cri et dans le commentaire j'expose 2 mon approche et mes raisonnements en tant que traductrice. Vu que j'etudiai la theorie de la traduction en anglais, et que la langue cible de la traduction est I'anglais, le commentaire est aussi en anglais. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language. / Linguistics / D.Litt. et Phil. (Linguistics)

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language. / Linguistics and Modern Languages / D.Litt. et Phil. (Linguistics)