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The present thesis seeks to examine the grammatico-pragmatic problem of translating modality from English into Arabic (two formally and genetically different languages) and vice versa, with the aim of suggesting tentative ways that would tackle such a problem for the Arab translator who finds himself/herself in a situation where only specific choices of TL modal expressions would make the translation acceptable. Translating is regarded, here, as an overall operation performed on two languages - an operation based on a systematic comparison of two linguistic systems and the functions they each perform at a higher level. It is taken to mean a code-switching operation, which implies that a sequence of symbols from one language is substituted for a sequence of symbols in another. This code-switching always operates as a chain with an intervening time occupied by a segment of interpretation during which the intended content is transferred into the target language by the translator. In this study, use is made of concepts and terminology provided by linguistics and translation theory, both of which deal with language as a communicative activity. The research conducted here deals with translation between Arabic and English, with special focus on modality as a linguistic as well as a cultural strategy of communication. Therefore, modality can be constructed in the TL only through overall translation by interpretation where equivalence becomes the translator's memory rather than his/her dictionary. Here, the overall process of translating the modal content thrives best by freeing itself from surface constraints, i.e. constraints imposed by the surface structure of the source text.

This study aims to establish the identity of the Saudi novel, which has been hitherto neglected by scholars whether Saudi or non-Saudi; to consider the emergence and development of tho Saudi novel during the past sIxty years (1930-90) and the reasons for these; to investigate the peculiarities of the Saudi novel as well as the influence on it of the International novel, and the novel in other Arabic-speaking countries; to examine the factors that have led to the growth of the novel as a literary form in Saudi Arabia since the fifties; and appraise the 'artistic" development that has taken place In the novel itself, and in individual novelists since that time.

Situé à l’est de Taroudant, l’ancienne capitale saâdiene, le pays des Ouled-Berrhil occupe une grande partie de la plaine amont du Souss. La majorité des paysages agraires de cet espace est encore aujourd’hui liée au fonctionnement des vieux systèmes hydrauliques. Pendant des siècles, ces systèmes sont et restent essentiels à la survie des vieux terroirs paysans. En effet, une grande partie des communautés villageoises vit principalement de céréales, cultivées surtout dans des terroirs de crue (faïd), mais également des oliviers, et de la luzerne des terroirs irrigués. Toutefois, ces dernières années ces systèmes hydrauliques sont entrés en concurrence avec d’autres, plus modernes, et fondés sur les performances hydrauliques de la motopompe. Ajouté à la multiplication des périodes sèches, ce nouveau système – le pompage - a engendré la mort des vieux systèmes traditionnels : l’entretien des galeries drainantes (khettaras) est devenu inutile devant la baisse considérable du niveau des aquifères, et les ouvrages qui servaient au captage permanent des inféroflux se sont brutalement transformés en simples ouvrages périodiques de dérivation des eaux faïd. Même les puits à dlou (irghrare) et les norias, premières manifestations de l’« individualisme » hydraulique, ont été remplacés par des motopompes. En peu de temps, la « fatalité » de la motopompe a transformé les bour et les arganeraies en grandes exploitations irriguées, et a crée de nouveaux paysages portant des cultures commerciales nouvelles. Cette dernière n’a d’ailleurs pas uniquement remodelé le paysage, elle a aussi entraîné de profonds bouleversements sociaux. Les paysans n’ayant pas les moyens de creuser un puits et de s’offrir une motopompe, ont été amenés à vendre parcelles et terrains à de grands exploitants capitalistes. Certains ont fui les douars pour les grandes villes, d’autres ont préféré rester dans la région. Ces derniers offrent généralement leurs services dans les grandes exploitations agrumicoles ou dans les nouveaux centres urbains où ils travaillent dans le bâtiment. Face à ces changements, le développement de cette partie du Souss, qui dépend totalement de ses ressources en eaux souterraines, a commencé à être troublé par la surexploitation des réserves aquifères. Situation de plus en plus inquiétante, surtout lorsque l’on prend conscience du fait que les barrages – en principe – destinés à la recharge de la nappe, sont loin de garantir un équilibre hydraulique. / No summary in English / Situado al este de la antigua capital saadiense, Taroudant, el país de los Ouled-Berrhil ocupa una gran parte de la llanura oriental del Souss. La mayor parte de los paisajes agrarios de este espacio están hoy todavía vinculados al funcionamiento de los antiguos sistemas hidráulicos. Desde varios siglos, estos sistemas son y siguen siendo esenciales a la superviviencia de los antiguos terruños campesinos. En efecto, al dia de hoy una gran parte de las comunidades aldeanas viver principalmente de cereales, cultivadas sobre todo en los terruños faïd, pero también de los olivos, y de la alfalfa en los terruños irrigados. No obstante, en estos últimos años, estos sistemas hidráulicos han estado en competencia con otros, más modernos, y basados en una técnica más avanzada, siendo la motobomba el mayor artefacto empleado. Añadido a la multiplicación de los periodos secos, este nuevo sistema – el bombeo – ha generado la muerte de los sistemas tradicionales : el manteninsiento de las khettaras se había vuelto inútil frente a la considerable bajada del agua freatica, y las obras que servían a la captación permanente de los inferoflujos se han transformado brutalmente en simples obras periódicas de derivación de las aguas faïd. Los irghare y las norias, primeras muestras del “individualismo” hidráulico, han sido substituido por motobombas. En poco tiempo, la “fatalidad” de la motobomba ha transformado los bures y arganares en grandes explotaciones irrigadas, y ha creado nuevos paisajes que llevan cultivos comerciales. Pues esta ultimano no solo ha reestructurado el paisaje, también ha generado hondos trastornos sociales. No teniendo los campesinos los recursos para cavar un poso y adquirir una motobomba, han sido obligados a vender parcelas y terrenos a grandes explotadores capitalistas. Algunos han huido los aduares a favor de las grandes ciudades, otros han preferido quedarse en la región. Estos ofrecen generalmente sus servicios en las explotaciones agrumicolas o en los nuevos centros urbanos, donde trabajan en la construcción. Frente a estos cambios, el desarrollo de esta parte del Souss, que depende totalmente de sus recursos en aguas subterráneas, ha empezado a ser perturbado por la sobreexpoltación de las reservas freaticas. La situación es cada vez mas inquietante, sobre todo cuando se toma conciencia de que las presas – por lo que dicen – destinadas a recargar la capa freatica, son lejos de garantizar un equilibrio hidráulico.

This dissertation examines the production and perception of some selected stress patterns in Libyan Arabic by English speaking learners and compares them to the production and perception of the native speakers. Two tasks were utilised to investigate the participants’ performance: a picture naming and an identification task. Word patterns covered potential problematic and non-problematic areas. An optimality theoretic approach is adopted in the discussion of the results of the perception and production of stress by the participants (Chapters 5 & 7) while a metrical approach is referred to in the discussion of the Libyan Arabic stress system in Chapter 3. It is found that structural effects (e.g. syllable structure, vowel quality, syllable position or class) have consequences on how the learners perceive and produce stress and on how they use this information in assigning stress. The study found that if the stress patterns match in the L1 and L2, and they follow regular phonological conditions, the learners get these patterns right by just applying the predictable patterns. If the stress patterns are similar but applied differently and they contradict predictable conditions, these unpredictable and/or marked patterns are not accessible in the L2 despite their partial availability in the L1. If a particular stress pattern does not exist in the L1, then the L1 negative transfer effect may appear in the L2. The misperception of stress is not only restricted to L2 learners but native speakers also fail in certain patterns to perceive the stress location. The learners use grammatical class and syllable structure as stress indicators but they show a deviation from the native speakers in using the vowel length cue. The native speakers are more sensitive to vowel length; the absence of vowel length or syllable closure in the stressed syllable in certain patterns prevent the native speakers from perceiving stress accurately.

'The Tale of Genji' had been out of print in Japan for nearly two centuries when its first English translation debuted in 1882. Ironically, as fin de siècle Anglophones encountered early reviews of 'Genji' in 'The New York Times' and elsewhere as a Japanese classic, the text was unavailable in Tokyo bookstores. This study investigates the millennium-long history of 'Genji', shedding light particularly upon how its English translators introduced textual and marketing strategies that were adopted by Japanese to domestically popularize the work. Such findings will extend those of G.G. Rowley (1997), who first contended that 'Genji' had fallen out of print between the years of 1706 and 1890. This study builds upon Rowley's research, clarifying how English translations of 'Genji' were responsible for the work's return to print in Japan, where 'Genji' has subsequently become the country's national classic. Methodologically, in exploring how translators have creatively enriched Murasaki's legacy up until the present, this study applies Anthony Pym's notion of humanization (2009) and Pascale Casanova's call for literary historicization (2007). Additionally, this thesis contributes to translation research by introducing the Japanese concept of reverse-importation. The term describes a process through which objects can gain recognition in their domestic market due to perceptions of popularity achieved abroad. Murasaki's tale provides a case to better understand how English translations of 'Genji' have, through reverse-importation, altered the work's standing in Japan.

This dissertation investigates how Japanese-language literature by Korean writers both emerged out of and stood in opposition to discourses of national language, literature, and identity. The project is twofold in nature. First, I examine the rise of Japanese-language literature by Korean colonial subjects in the late 1930s and early 1940s, reassessing the sociopolitical factors involved in the production and consumption of these texts. Second, I trace how postwar reconstructions of ethnic nationality gave rise to the specific genre of zainichi (lit. "residing in Japan") literature. By situating these two valences together, I attempt to highlight the continuities among the established fields of colonial-period literature, modern Japanese literature, and modern Korean literature. Included in my analyses is a consideration of literature written by Japanese writers in Korea, transnational media and publishing culture in East Asia, the gender politics of national language, and the ways in which kominka (imperialization) policies were neither limited to the colonized alone nor completely erased after 1945. Rather than view the boundaries between "Japanese" and "Korean" literature as fixed or self-evident, this study examines the historical construction of these categories as generative discourses embedded in specific social, material, and political conditions. I do this through close analytical readings of a wide variety of primary texts written in Japanese by both Korean and Japanese writers, while contextualizing these readings in relation to the materiality of the literary journal. I also include a consideration of the canonization process over time, and the role literary criticism has played in actively shaping national canons. Chapter 1 centers around the 1940s "Korean boom," a term that refers to the marked rise in Japanese-language works published in the metropole on Korea and its culture, written by Japanese and Korean authors alike. Through broad intertextual analyses of major Japanese literary journals and influential texts by Korean writers produced during the "Korean boom," I examine the role played by the Japanese publishing industry in promoting the inclusion of Koreans in the empire while simultaneously excluding them from the privileged space of the nation. I also deconstruct the myth of a single "Korean" people, and consider how an individual's position within the uneven playing field of colonialism may shift according to gender and class.Chapter 2 deals with the ideologies of kokugo (national language; here, Japanese) and kokumin bungaku (national literature) during the latter years of Japan's imperial rule. The major texts I introduce in this chapter include Obi Juzo's "Tohan" (Ascent, 1944), first printed in the Japanese-language journal Kokumin bungaku based in Keijo (present-day Seoul); a comparison of the kominka essays written by Yi Kwangsu in Korean and Japanese; and the short story "Aikoku kodomo tai" (Patriotic Children's Squad, 1941), written by a Korean schoolgirl named Yi Chongnae. Through these texts, I show how kokumin bungaku depended upon the inclusion of colonial writers but simultaneously denied them an autonomy outside the strictures of the Japanese language, or kokugo. In Chapter 3, I move to Occupation-period Japan and the writings of Kim Talsu, Miyamoto Yuriko, and Nakano Shigeharu. While Koreans celebrated Japan's defeat as a day of independence from colonial rule, the political status of Koreans in Korea and in Japan remained far from independent under Allied policy. I outline the complicated factors that led to the creation of a stateless Korean diaspora in Japan and highlight the responses of Korean and Japanese writers who saw these political conditions as a sign of an imperialist system still insidiously intact. In looking at Kim Talsu's fiction in particular, I am able to examine both the continuities and discontinuities in definitions of national language, literature, and ethnicity that occurred across 1945 and map out the evolving position of Koreans in Japan. Chapter 4 compares the collaboration debates that occurred in post-1945 Korea with the arguments over war responsibility that occurred in Japan in the same period, focusing on the writings of Chang Hyokchu and Tanaka Hidemitsu. Although the works of both individuals have been neglected in contemporary literary scholarship, I argue that their postwar writings reveal how Korean collaboration (ch'inilp'a) and Japanese war responsibility (senso sekinin) emerged as mutually constitutive discourses that embodied - rather than healed - the traumas of colonialism and empire. Finally, in the epilogue of this dissertation, I introduce the writings of the self-identified zainichi author Yi Yangji in order to consider how all of the historical developments outlined in the previous chapters still exist as lived realities for many zainichi Koreans even today.

This dissertation traces the discourse of emotion embodied in the lineage novel (kamun sosŏl 家門小說), a genre that circulated from the late seventeenth until the early twentieth century and was intimately related to the flourishing women’s culture of Chosŏn Korea (1392-1910). Sagas in hundreds of manuscript volumes, lineage novels trace the lives of multiple generations of established civil lineages. Comprised of stories of rise and fall of family fortunes, foreign expeditions, court intrigues, and personal confrontations that often reach cataclysmic dimension, the lineage novel is an encyclopedia of human experience and a literary form that developed in parallel to the establishment of Korea’s patriarchal lineage structure in the seventeenth century. Just as it valorizes the fundamental premises of the patriarchal lineage, the lineage novel affirms private feelings as inalienable ingredient of authentic personal histories and the fabric of domestic life. While sharing its origin with other genres of writing lineage, such as genealogies, family histories, and commemorative texts, the material shape of the lineage novel, which circulated exclusively in manuscript form, is embedded in women’s practice of vernacular calligraphy: manuscript inscriptions reveal the untiring work of female scribers who reproduced these massive texts. The novels themselves create a sophisticated conception, in which the patriarchal vision of people’s relationships is extended to account for intimacies and passions that are omitted from the Confucian norm. The early-twentieth-century chapter of the lineage novel’s history, moreover, tells us of the curious metamorphoses of literary genres and reading audiences of the time, while also providing a comparative hermeneutic angle upon the discourse of emotion in “modern” Korean literature and particularly its harbinger, Yi Kwangsu’s 1917 novel The Heartless (Mujŏng).