This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

Esta dissertação apresenta a edição fac-similar e diplomática em perspectiva genética de 53 notas de planejamento do romance Avalovara de Osman Lins. Esta seleção permitiu verificar quais foram os procedimentos empregados na composição do texto, da estrutura rigorosa do livro e o registro da utilização destas notas na obra publicada em 1973. A edição contempla documentos autógrafos, datiloscritos e impressos rasurados que, de modo geral, contêm um discurso indicativo. Com isso, é possível perceber certas particularidades relacionadas ao processo de criação do romance além de estabelecer novas propostas de estudo para a obra. / This dissertation presents the diplomatic and fac-simile edition of 53 planning notes of the Avalovara, a novel by Osman Lins, through a genetic perspective. The selection was limited to these documents in order to check the procedures employed in the text composition and in its rigorous structure, as well as the record of the use of these notes in the volume published in 1973. The edition includes handwritten, typed and scrapped printed documents that, in general, display an indicative discourse. Through this edition, it is possible both to notice certain peculiarities related to the creative process of the novel and to establish new perspectives of study for the novel.

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

Topic of this diploma thesis is The Issue of Idioms at Upper Primary Schools. Phraseology is the integral part of daily communication that is why I decided to explore how pupils understand it. The theoretical part is based on publications of our leading linguists. The practical part studies not only the knowledge of idioms but also whether pupils understand it and if they are able to use them in sentences. The questionnaire consists of idioms, which have emerged as the examples in theoretical parts but also with the help of dictionaries of Czech phraseology and idioms.

Esta dissertação apresenta a edição fac-similar e diplomática em perspectiva genética de 53 notas de planejamento do romance Avalovara de Osman Lins. Esta seleção permitiu verificar quais foram os procedimentos empregados na composição do texto, da estrutura rigorosa do livro e o registro da utilização destas notas na obra publicada em 1973. A edição contempla documentos autógrafos, datiloscritos e impressos rasurados que, de modo geral, contêm um discurso indicativo. Com isso, é possível perceber certas particularidades relacionadas ao processo de criação do romance além de estabelecer novas propostas de estudo para a obra. / This dissertation presents the diplomatic and fac-simile edition of 53 planning notes of the Avalovara, a novel by Osman Lins, through a genetic perspective. The selection was limited to these documents in order to check the procedures employed in the text composition and in its rigorous structure, as well as the record of the use of these notes in the volume published in 1973. The edition includes handwritten, typed and scrapped printed documents that, in general, display an indicative discourse. Through this edition, it is possible both to notice certain peculiarities related to the creative process of the novel and to establish new perspectives of study for the novel.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-22T12:41:12Z No. of bitstreams: 1 robledoestevessantospires.pdf: 1489508 bytes, checksum: 70622a2c796a7c60cf73b540110f1a2f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:20:57Z (GMT) No. of bitstreams: 1 robledoestevessantospires.pdf: 1489508 bytes, checksum: 70622a2c796a7c60cf73b540110f1a2f (MD5) / Made available in DSpace on 2016-04-24T02:20:57Z (GMT). No. of bitstreams: 1 robledoestevessantospires.pdf: 1489508 bytes, checksum: 70622a2c796a7c60cf73b540110f1a2f (MD5) Previous issue date: 2013-03-25 / A superlativação de conceitos por meio de projeções figurativas é um fenômeno muito comum à Língua Portuguesa, observado tanto na modalidade escrita quanto oral, e promove a emergência de padrões construcionais com sofisticados mecanismos de estruturação conceptual e formal. O presente estudo identifica, descreve e analisa um desses padrões: a Construção Hiperbólica por Símile – CHS, com especial destaque para as instâncias desta construção instituídas a partir do articulador sintático que nem, como ilustra o elenco de types a seguir: (1) A pobreza é que nem um câncer; (2) Passou por mim que nem um rabo de vento e (3) Inocência enrubesceu que nem uma romã. O aporte teórico central deste estudo advém de dois dos mais relevantes modelos da Linguística Cognitiva, quais sejam, a Gramática das Construções como um Modelo Baseado no Uso (GOLDBERG, 1995, 2006; LAKOFF, 1987; SALOMÃO, 2002-2007, 2009; MIRANDA, 2008-2010; BOAS, 2010) e a Semântica de Frames (FILLMORE, 1968, 1977, 1982), cujas teses apontam para a relevância do uso linguístico e da experiência (de todas as ordens) na arquitetura cognitiva do léxico e da gramática. Nesse enquadre, opta-se por procedimentos metodológicos baseados em corpora e em padrões de frequência de ocorrência e de tipos (GOLDBERG, 2006; BYBEE, 2007; CROFT & CRUSE, 2004). Os resultados certificam o valor semântico-pragmático específico dessas expressões hiperbólicas do Português, assegurando-lhes o estatuto de instâncias de um padrão construcional (a CHS) integrado por três subpadrões. Trata-se de uma construção vinculada à Construção Genérica de Modificação de Grau e cujo constructo ( FILLMORE, GOLDMAN & RHODES, 2010) se desenha pela presença de dois Elementos da Construção (EC): um EC Escopo ou núcleo graduável e um sintagma complexo (EC Qualificador_de_grau) resultante da ampliação de valência do EC Escopo. Evocando o frame Posição_máxima_em_uma_escala, a CHS tem seu Valor_hiperbólico assegurado através da comparação por Símile. Em termos de sua função discursiva, esta construção evocada por que nem, marcadamente informal, seja em modalidade oral ou escrita, demarca o domínio da autoexpressão, da subjetividade nas molduras interativas. / The construction of superlative concepts through figurative projections is a very common phenomenon to Portuguese Language, observed both in written and oral speech, and promotes the emergence of constructional patterns with sophisticated mechanisms for structuring conceptual and formal a language pattern. This study identifies, describes and analyzes one of these patterns: the Hyperbolic Construction by Simile – CHS, with special emphasis on its instances instituted by the syntactic articulator que nem, as illustrates the following types: (1) A pobreza é que nem um câncer; (2) Passou por mim que nem um rabo de vento e (3) Inocência enrubesceu que nem uma romã. The central theoretical assumptions comes from two of the most relevant models developed inside Cognitive Linguistics, namely the Construction Grammar as Used-based Model (GOLDBERG, 1995, 2006, LAKOFF, 1987; SOLOMÃO, 2002-2007, 2009; MIRANDA, 2008-2010; BOAS, 2010) and Frame Semantics (FILLMORE, 1968, 1977, 1982), whose thesis point to the importance of the language use and the experience (of all orders) in the cognitive architecture of the lexicon and grammar. In this framework, it is chosen a corpus-based methodological procedure, with the examination of token and type frequencies (GOLDBERG, 2006; BYBEE, 2007; CROFT & CRUSE, 2004). The results certify the specific semantic-pragmatic value of these hyperbolic expressions of Portuguese, assuring them the status of instances of a constructional pattern (the CHS) integrated for three subpatterns. The construction is linked to the Degree Modifying Generic Construction of which construct (FILLMORE, LEE-GOLDMAN & RHODES, 2010) is drawn by the presence of two construction elements (CE): a CE SCOPE or a gradable core and a complex phrase (CE DEGREE_MODIFIER) resultant from the expansion of the CE SCOPE valence. Evoking the frame Position_on_a_scale, CHS has its Hyperbolic_value ensured by the comparison by Simile. In terms of its discursive function, this construction evoked by que nem, markedly informal, whether in oral or written form, demarcates the area of self expression and subjectivity in interactive frames.

Cette thèse analyse la manière dont les métaphores et les comparaisons de Harper Lee ont été traduites dans les trois versions françaises de To Kill a Mockingbird, un des romans les plus célèbres de la littérature américaine. Comme point de départ, nous examinons les théories existantes sur la traductologie et les figures de style, ce qui nous aide à comprendre la fonction de la métaphore et de la comparaison au sein d’un texte littéraire. Par la suite, nous étudions les métaphores et comparaisons qui n’ont pas pu être traduites aisément, souvent à cause de leur charge culturel. Paradoxalement, les connotations et les références culturelles jouent un rôle important dans l’œuvre de Lee, et elles sont indispensables pour la reconstruction de son univers à l’étranger. Afin de traduire l’intraduisible, le traducteur doit recourir à des stratégies complexes et variées, parfois faisant preuve d’une grande créativité. Un chapitre entier est donc consacré aux traductions inventives où le traducteur se transforme en écrivain. En effet, on se pose des questions sur le rôle du traducteur : doit-il rester passif ou est-il libre de façonner le texte cible comme il le souhaite ? Le dernier chapitre se focalise sur les similitudes entre le français et l’anglais, grâce auxquelles un passage fluide d’une langue à l’autre est souvent possible. Dans chaque version, nous observons des tendances méthodologiques et stylistiques, qui varient selon l’époque et/ou les préférences de chaque traducteur. Étant donné que la traduction parfaite n’existe pas, nous concluons que chaque nouvelle version contribue à sa manière à l’expérience du lecteur dans la langue cible. / This thesis analyses the way in which Harper Lee’s metaphors and similes have been translated in the three French versions of To Kill a Mockingbird, one of the most famous novels in American literature. As a starting point, we examine the existing theories regarding Translation Studies and stylistic devices, which helps us to understand the purpose of metaphors and similes within a literary text. We then study those metaphors and similes that could not be translated with ease, mainly owing to their cultural significance. Paradoxically, cultural connotations and references play a significant role in Lee’s work, and they are indispensable in reconstructing her universe abroad. In order to translate the untranslatable, the translator has to resort to complex and diverse strategies, sometimes demonstrating a high level of creativity. An entire chapter is therefore devoted to inventive translations where the translator becomes a writer in his or her own right. Indeed we ask ourselves several questions about the role of a translator : should he remain passive or is he free to shape the target text as he desires? The final chapter focuses on the similarities between French and English, thanks to which a swift passage between the two languages is often possible. In each version, we notice methodological and stylistic trends that vary according to the publication date and/or the preferences of each translator. Given that there is no such thing as a perfect translation, we come to the conclusion that every new version contributes in its own way to the reader’s experience in the target language.

MA (Xitsonga) / MER Mathivha Centre for African Languages, Arts and Culture / ni/kumbe swi ri hava maendli yo vulavula hi swa miehleketo eka Xitsonga. Ku xopaxopiwa ntsena maendli yo pfumala xiendliwa ni maendli ya xiendliwa xin’we eka dyondzo leyi. Maendli ya miehleketo ya swiendliwa swinharhu a ya katsiwangi eka ntirho lowu. Dyondzo leyi yi langutana ngopfu ni tinxaka tinharhu ta maendli ya swa miehleketo, ku nga maendli lama khumbaka swa miehleketo, maendli yo vulavula hi ntsako, na maendli yo vulavula hi nchavo. Tinhlamuselo leti talaka ku kumeka ni leti nga taliki ku kumeka eka swihlambanyisi leswi nga tirha eswivulweni ni maendli lama kumbe leswi nga tirhangiki na wona ma kaneriwa eka dyondzo leyi. Thiyori leyi landzeleriwaka eka dyondzo leyi i ya Lakoff (1992) ya Conceptual Theory of Metaphor. Ku ya hi thiyori leyi matirhelo ya swivulwa swa xivumbeko xa vutlhokovetseri swavugego ma le ka ririmi eka miehleketo. Thiyori leyi yi tirhisa mpimanyiso wa swilo leswi kumekaka eka michumu mimbirhi, laha nchumu wo karhi wu twisisekaka ku antswa hi ku xiya nchumu lowu pimanyisiwaka na wona. Eka dyondzo leyi, miehleketo yo pimanyisa milongoti leyi kumekaka eka michumu mimbirhi yo hambana yi tirhisiwaka eka ku xopaxopa swihlambanyisi swa Xitsonga leswi tirhaka na maendli ya swa miehleketo. Mahungu lama kamberiwaka eka ndzavisiso lowu ma tirhisiwa eka swivulwa hi xikongomelo xo kuma mikhuva ya tinhlamuselo leti humelelaka.

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This is a semantic study, dealing with style and technique in the short stories of D. B. Z. Ntuli. The study as a whole analyses Ntuli' s first six volumes of short stories. The first chapter is an introduction, dealing with the aim of the study. The second sub-section after aim is Ntuli's biographical notes. Full details of this author from high school attendance to his contribution during his working experience are given. Ntuli's biography is followed by the scope of study. Under this sub-heading, short story volumes to be analysed are clearly stated. The fourth sub-heading is the method of approach and a conclusion. Chapter two deals with various types of repetition, a literary technique. It analyses Ntuli's use of language, and repetition of sentences approaching it from different angles. Chapter three and four deal with choice of words. The former chapter handles the various types of language elements semantically and the latter deals specifically with the ideophone. The ideophone is sub-divided into two sub-sections: classification and usage. Chapter five deals with proverbial expressions and these are sub-divided into two sections: idioms and proverbs. The usage of idiomatic expressions is discussed under: verbs, nouns and qualificatives, while the proverbs are analysed under classification and syntax. Imagery is dealt with in chapter six. Imagery is further sub-divided into four categories: metaphor, simile, personification and symbolism. Style and structure are discussed in chapter seven. In this chapter various elements of language forms are handled: types of sentenceidiophonic; negative forms of the ideophone, with conjunctives; sentences with adverbs; the demonstratives; titles of short story volumes and naming of characters. Chapter eight is the general conclusion, reflecting on Ntuli's style and technique with special emphasis on his unique use of the language. Reference is made to discoveries regarding the author's use of vocabulary, and his techniques in using repetition as well as avoiding it, which is part of his style. His choice of words and how he arranges them on paper is also discussed. Ntuli's choice of titles in naming his short story volumes is summed up showing that these have been influenced by his background. The study concludes by suggesting areas that still require further analysis in Ntuli 's short stories. / African Languages / D. Litt. et Phil. (African Languages)