Some proverbs, idioms, nominal compounds, and slogans duplicate in form and meaning between several languages. An example of these between German and English is Liebe auf den ersten Blick and “love at first sight” (Flippo, 2009), whereas, an example between Kiswahili and English is uchaguzi ulio huru na haki and “free and fair election.” Duplication of these strings of words between languages that are as different in descent and typology as Kiswahili and English is irregular. On this ground, Kiswahili academies and a number of experts of Kiswahili assumed – prior to the present study – that the Kiswahili versions of the expressions are the derivatives from their English congruent counterparts. The assumption nonetheless lacked empirical evidence and also discounted other potential causes of the phenomenon, i.e. analogical extension, nativism and cognitive metaphoricalization (Makkai, 1972; Land, 1974; Lakoff & Johnson, 1980b; Ruhlen, 1987; Lakoff, 1987; Gleitman and Newport, 1995). Out of this background, we assumed an academic obligation of empirically investigating what causes this formal and semantic duplication of strings of words (multiword expressions) between English and Kiswahili to a degree beyond chance expectations. In this endeavour, we employed checklist to 24, interview to 43, online questionnaire to 102, translation test to 47 and translationality test to 8 respondents. Online questionnaire respondents were from 21 regions of Tanzania, whereas, those of the rest of the tools were from Zanzibar, Dar es Salaam, Pwani, Lindi, Dodoma and Kigoma. Complementarily, we analysed the Chemnitz Corpus of Swahili (CCS), the Helsinki Swahili Corpus (HSC), and the Corpus of Contemporary American English (COCA) for clues on the sources and trends of expressions exhibiting this characteristic between Kiswahili and English. Furthermore, we reviewed the Bible, dictionaries, encyclopaedia, books, articles, expressions lists, wikis, and phrase books in pursuit of etymologies, and histories of concepts underlying the focus expressions. Our analysis shows that most of the Kiswahili versions of the focus expressions are the function of loan translation and rendition from English. We found that economic, political and technological changes, mostly induced by liberalization policy of the 1990s in Tanzania, created lexical gaps in Kiswahili that needed to be filled. We discovered that Kiswahili, among other means, fill such gaps through loan translation and loan rendition of English phrases. Prototypical examples of notions whose English labels Kiswahili has translated word for word are such as “human rights”, “free and fair election”, “the World Cup” and “multiparty democracy”. We can conclude that Kiswahili finds it easier and economical to translate the existing English labels for imported notions rather than innovating original labels for the concepts. Even so, our analysis revealed that a few of the Kiswahili duplicate multiword expressions might be a function of nativism, cognitive metaphoricalization and analogy phenomena. We, for instance, observed that formulation of figurative meanings follow more or less similar pattern across human languages – the secondary meanings deriving from source domains. As long as the source domains are common in many human\'s environment, we found it plausible for certain multiword expressions to spontaneously duplicate between several human languages. Academically, our study has demonstrated how multiword expressions, which duplicate between several languages, can be studied using primary data, corpora, documentary review and observation. In particular, the study has designed a framework for studying sources of the expressions and even terminologies for describing the phenomenon. What\'s more, the study has collected a number of expressions that duplicate between Kiswahili and English languages, which other researchers can use in similar studies.

Der Band fasst die Ergebnisse einer 2010 an der Universität Tübingen unter dem Titel „Literarisches Übersetzen: Texte, Autoren, Räume, Medien“ veranstalteten Ringvorlesung zusammen. Handelt es sich bei Claudia Dathe, Renata Makarska und Schamma Schahadat um dem slavischen Raum verbundene Herausgeberinnen, so verwundert nicht, dass Beiträgen aus dem Bereich der Slavistik der meiste Platz gewährt wird. Auf sie folgen die Romanistik, die Anglistik sowie die Sinologie und Rechtswissenschaft. Das Verhältnis von Theorie und Praxis ist ausgewogen. Sechs der zwölf Autoren sind selbst als Übersetzer tätig und widmen sich Fallbeispielen bzw. praktischen Problemen des Übersetzens.

Thomas G. Winner (1917 in Prag geboren; ab 1939 in den USA; 2004 in Cambridge, Massachusetts gestorben) zählte zu den wichtigsten Vertretern der Semiotik in Amerika, gründete er doch an der Brown University das erste Semiotik-Zentrum der Vereinigten Staaten (Research Center for Semiotic Studies).1 Sein nicht minder großes, mit zunehmendem Alter noch wachsendes Interesse galt der tschechischen Avantgarde und dem Prager Strukturalismus,2 dem er in vorliegender Arbeit nicht nur auf inhaltlicher Ebene, sondern auch von seinem methodologischen Zugang her verpflichtet ist. Davon legt bereits ein kurzer Blick in die beigegebene Bibliographie (pp. 179–193) beredtes Zeugnis ab, in der neben Karel Teige, „the Breton of Czechoslovakia“ (p. 18), Roman Jakobson – er zählte zu Winners Lehrern, Freunden (p. 9) und seit 1975 auch Untersuchungsgegenständen – und Jan Mukařovský die am prominentesten vertretenen Autoren sind.

TURNING PAGES is an annual magazine of bright voices from all over the world in creative and original writing in English in short fiction, creative nonfiction, and poetry, as well as in play excerpts, drawings, art projects and many other related genres by students, academics, and writers. It is a production of the Chair of English Literatures at the English Department at Chemnitz University of Technology, Germany, and the first journal of its kind at the university.

Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.