The aim of my study is to identify, describe and critique Es'kia Mphahlele's Down Second Avenue and its German translation, Pretoria Zweite Avenue. More specifically, the aim is to engage with the norms and constraints operative in the various translational relationships; also, to consider the impact - resulting from the shifts involved in cultural transfer - for a new readership in the 1960s in east Germany. Lambert and van Gorp's research model, "Hypothetical Scheme for Describing Translations", provides a framework for such a study that starts with an analysis ofpreliminary data, followed by a macro-level analysis and, finally, an analysis ofmicro-level data. Toury's over-arching theory of Descriptive Translation Studies (DTS), and Even-Zohar's Polysystem Theory are used extensively, especially regarding the contextualisation of both source text (ST) and target text (TT). In considering - via a detailed analysis of shifts - how elements of South African culture have been transferred in translation, I also draw on Fairclough's theories regarding social power hierarchies, and the mutually constitutive nature of discourse. Given that norms and constraints are largely determined by cultural contexts, Fillmore's 'scenesand- frames semantics' is also invaluable to the ideological explanations necessary during the course ofthis project. Ideologically relevant extracts - representative of South African culture - from the ST, are compared with the corresponding German translations. This study makes extensive use of Baker's strategies for dealing with non-equivalence at various levels of the translation process. Based on all the above theoretical points of entry, ideological parallels between the imagined communities of east Germany and South Africa are drawn. My study proves the potential of translation projects, such as this one, of aiding in cultural dissemination between two countries that are culturally and geographically apart, but which share a profound understanding for the burdens of ideological over-determination. / Thesis (M.A.-English)-University of KwaZulu-Natal, 2005.

The first and until now last translation of the drama The Ballad of the Sad Café which was written by Edward Albee based on the novella by Carson McCullers was published 51 years ago. This fact leads us to the assumption that the translation is already outdated. In this thesis we deliver a new translation and by comparing and contrasting the two texts we draw conclusions on aging of translations, elements that cause aging of translations and ways how current theatre-makers handle an outdated text nowadays. The first part of the thesis consists of the drama's literary analysis. The following translation analysis represents a preparatory phase for the translation itself. We also provide a theoretical background on repeated translation, aging of translation and translation of dramatic texts. The new translation of the play is compared and contrasted in the last part in which we cover the most important issues described in the translation analysis. We conclude by comparing our findings with the staging of the play from 2005 in which the earlier translation was used. Key words: THE BALLAD OF THE SAD CAFÉ, Czech interpretation, Czech translation, translation of dramatic texts, repeated translation, aging of translations, contrastive description of Czech translations

Thesis (MPhil (Afruikaans and Dutch))—University of Stellenbosch, 2006. / This descriptive case study is based on the translation of the first part of Alexander McCall Smith’s book, The No.1 Ladies’ Detective Agency, into Afrikaans. Examples of the type of translational problems that this translator experienced, as well as the strategies that were implemented to solve these problems, are discussed in an accompanying annotation. In this way the translator has attempted to explain her thought and decision-making processes during the translation process. Various concepts from translation studies theory, including foreignization and domestication, are discussed with reference to the practical translation, and support the solutions suggested for translational problems. This translator mainly used a foreignizing approach, although some degree of domestication was inevitable at times in order to avoid the alienation of target readers from the target text. The required characteristics of the target text and the knowledge and cultural background of the target readers are therefore also discussed, as both these factors played a defining role during the translation process. The need for Afrikaans literature between the so-called “high literature” and light romantic fiction is discussed, as this contributed to the choice of source text: according to this translator the translation of The No.1 Ladies’ Detective Agency into Afrikaans will be able to help fill this gap. Although this translator understands that financial restrictions play a large role in publishers’ reluctance to publish translations, the statement is made that they should not accept without further ado that an Afrikaans translation will result in a financial loss if no research has been done into the possibilities of that specific translation. Recommendations regarding market research are made and the possibility of future study is indicated.

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2009. / In this descriptive study, recent translations into English of two highly-regarded Afrikaans novels are investigated. The purpose of this is to describe these translations in a comparative manner, in order to arrive at conclusions about the differing modi operandi of diverse literary translators. The texts studied are Agaat by Marlene van Niekerk (2004) and Hierdie lewe by Karel Schoeman (1993), titled Agaat (2006) and This Life (2005) in English, and translated by Michiel Heyns and Elsa Silke, respectively. The two translators differ in that one is a creative writer in own right, though not being a formally-trained translation scholar, and translated with input from the source text author. The other is not a creative writer, translated without input from the author and has a formal translation-theoretical qualification. In this study, the target texts produced by these two translators are compared with their respective source texts, in order to determine whether there are differences or similarities in their modi operandi. A theoretical framework is compiled using relevant translation theories in order to systematise the comparison of the source texts and their translations. The novels are then compared to their translations in turn, on various levels, in order to describe the modus operandi of each translator. This results in certain conclusions being drawn about the different ways in which diverse translators work. These conclusions are linked to norms apparent in the decisions the translators make, or the lack thereof, as well as the role of the translation skopos. A number of topics for further research are also mentioned.

Thesis (MPhil)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: The Harry Potter series is currently one of the most popular book series for children in the world. The original British books have been translated into more than three hundred languages - one of them being Afrikaans, for which the Afrikaans translator received two translation prizes. Yet closer investigation reveals that these translations are not written in idiomatic Afrikaans, mostly due to the phenomenon of 'interference'. This phenomenon entails an excessive influence of the linguistic structures of the source text on that of the target text. The influence of the English source text on the Afrikaans translator by means of interference was of such an extent that the texts have been written in unnatural language, called 'translationese'. In this study the influence of interference on the quality of the Afrikaans translations of Harry Potter is examined. The focus is on books 4 and 5 in the series, namely Harry Potter en die Beker vol Vuur and Harry Potter en die Orde van die Feniks. The basic premises of the functionalistic approach to translation are used to emphasise the importance of the translation skopos, the function that the translation has to fulfil in the target culture, a detailed translation brief as well as the translator's loyalty towards the various role players in the translation process. Descriptive translation studies is used to prove the apparent absence of knowledge of translation norms as well as translation decisions and strategies that had to be considered carefully during the production of the Afrikaans translations. The researcher hereby attempts to emphasise the importance of careful consideration and planning of translation strategies. Cognisance of the functionalistic and descriptive premises would have lead to a more natural translation that communicates optimally with the target readers in the target culture. / AFRIKAANSE OPSOMMING: Die Harry Potter-reeks is tans een van die mees gesogte kinderreeksboeke ter wêreld. Die oorspronklike Britse boeke is in meer as driehonderd tale vertaal - onder andere ook in Afrikaans, waarvoor die Afrikaanse vertaler reeds twee vertaalpryse ontvang het. Tog toon nadere ondersoek dat hierdie vertalings inderwaarheid nie in idiomatiese Afrikaans vertaal is nie, hoofsaaklik weens die verskynsel 'interferensie'. Hierdie verskynsel behels 'n oormatige invloed van die linguistiese strukture van die brontaal op die doeltaal. Die Engelse bronteks het sodanige invloed op die Afrikaanse vertaler gehad, dat die teks weens interferensie in onnatuurlike taal geskryf is, oftewel in 'translationese'. In hierdie studie word die invloed van interferensie op die kwaliteit van die Afrikaanse Harry Potter-vertalings, spesifiek boeke 4 en 5 in die reeks, naamlik Harry Potter en die Beker vol Vuur en Harry Potter en die Orde van die Feniks, ondersoek. Die basiese uitgangspunte van die funksionalistiese benadering tot vertaling word gebruik om die noodsaaklikheid van 'n vooropstelling van die vertaalskopos, die funksie wat die vertaling in die doelkultuur moet speel, die belangrikheid van 'n gedetailleerde vertaalopdrag asook lojaliteit van die vertaler aan die onderskeie rolspelers in die vertaalproses uit te lig. Deskriptiewe vertaalstudie word gebruik om die klaarblyklike afwesigheid van 'n kennis van vertaalnorme, asook van weldeurdagte besluite en vertaalstrategieë tydens die produksie van die Afrikaanse vertalings te bewys. Die navorser poog om hierdeur op die noodsaaklikheid van weldeurdagte en beplande vertaalstrategieë klem te lê. Kennis van die funksionalistiese en deskriptiewe uitgangspunte sou kon lei tot 'n natuurliker vertaling wat optimaal met die doellesers in die doelkultuur kommunikeer.

Thesis (MPhil)--Stellenbosch University, 2007. / ENGLISH ABSTRACT: This study has been a long journey to pursue the art and craft involved in a translation process. The indisputably differing natures of the languages at stake have been prominent in the translator's psychological frame throughout the process. The acknowledgement of the differing natures of languages often means knowing exactly what has to be transferred and in which manner it has to be transferred without compromising the demands of any of the languages at stake. The latter also speaks to the preservation of the message of the ST in the TL in the process of transition. The translation of Molope's Dancing in the Dust has given good ground for the exploration of the processes involved in a literary translation. Although the status of Molope's novel in the publishing market appears to be relatively new, there are some good grounds to declare it as fairly translatable. It has been noted in the study that there has been a desire to consult her existing literatures with an intention to evaluate her dominant style of writing, or any of her translated works so that it becomes easier to determine the translatability of this novel. However, this only proved to be an unsuccessful business in the sense that this novel is the first of her works, ever. Nevertheless, it has been stated simultaneously in this study that the expressiveness of Mol ope's novel, especially in rooting out the main events of the 197 6 Soweto Uprisings, ultimately convinced the translator that this art is worthy to be translated. The acknowledgement (by some legends) ofMolope's potential to probe into the main events of the struggle during that era has been another area the translator could rely on. This attempt has been done albeit Molope's sometimes poignant style of writing (much of this has been said in the study), which sought to pose some problematic areas. As has been declared in the hypothesis section, translatability is possible if the process of translation commences on a ST analysis, whereby problematic areas (or areas of interest thereof) are identified with an intention to select a suitable translation strategy. Suffice then to say that an attempt to answer the translatability question of this novel has been made in the chapter of annotation. Assembling a chapter of annotation is itself an attempt to demonstrate the translator's creativity in manoeuvring the ST material in order to produce what she assumes will suit the target readers. The discussion of well-established translation literatures in Chapter 2 serves to give background to the random choice of particular translation strategies at particular points in time. Therefore, the literature which forms Chapter 2 of this study serves to substantiate both what appears in the chapter of annotation and the entire product thereof. / AFRIKAANSE OPSOMMING: Hierdie studie was 'n lang ontdekkingstog na die kuns en vernuf betrokke by die vertaalproses. Die uiteenlopende aard van die tale ter sprake was deurentyd 'n belangrike oorweging vir die vertaler. Die erkenning dat die betrokke tale onteenseglik van mekaar verskil, gaan gewoonlik gepaard met die besef van presies wat op watter wyse oorgedra moet word ten einde aan albei tale reg te laat geskied. Dit behels dus dat die boodskap van die bronteks (BT) in die oordragproses na die teikentaal (TT) behoue bly. Die vertaling van Kagiso Lesego Molope se boek Dancing in the Dust (2004) het as 'n goeie vertrekpunt vir die ontdekking van die letterkundige vertaalproses gedien. Hoewel Molope se roman in die uitgewersmark as betreklik nuut beskou word, kan dit om 'n paar goeie redes as redelik vertaalbaar bestempel word. In die studie het dit duidelik geword dat 'n letterkundige vertaling hetsy vereis dat auteurs se bestaande letterkundige werke geraadpleeg word ten einde hulle oorheersende skryfstyl te bepaal 6f dat enige van hulle reeds vertaalde werke bestudeer word om deur middel van vergelyking die vertaalbaarheid van die tersaaklike werk vas te stel. Aangesien hierdie roman egter Molope se heel eerste werk is, was sodanige vergelykende navorsing nie moontlik nie. Die studie toon nietemin ook aan dat die beeldende aard van Molope se roman, veral met betrekking tot die hoofgebeure van die Soweto-opstand van 1973, die vertaler uiteindelik oortuig het dat die werk 'n vertaling waardig is. Die bevestiging (deur 'n paar legendariese figure) van die potensiaal wat Molope in hierdie ondersoek na die hoofgebeure van die vryheidstryd in daardie era openbaar, was n6g 'n faktor waarop die vertaler kon steun. Die vertaling is dus aangepak ofskoon Molope se uiters aangrypende skryfstyl (waaroor daar heelwat in die studie uitgewei word) 'n paar probleme opgelewer het. Soos in die hipotese genoem, is vertaling slegs moontlik indien die vertaalproses met 'n BT-ontleding afskop waarin (moontlike) probleemareas uitgewys word ten einde 'n toepaslike vertaalstrategie te kies. Dit is dus voldoende om te se dat die annotasiehoofstuk poog om die vraag oor die vertaalbaarheid van hierdie roman te beantwoord. Die saamstel van die annotasiehoofstuk is op sigself 'n paging om te toon hoe die vertaler skeppend met die BT -materiaal omgaan ten einde 'n gepaste teks vir die teikenlesers te skep. Die bespreking van gesaghebbende, betroubare vertaalliteratuur in hoofstuk 2 dien as agtergrond vir die ewekansige keuse van bepaalde vertaalstrategiee op bepaalde tydstippe. Daarom dien die literatuur in hoofstuk 2 as stawing van die inhoud van die annotasiehoofstuk sowel as die eindproduk van die studie.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study investigates the translation strategy oortekening (Afrikaans for “resigning” or “redrawing”) as it is found in the bilingual context of Breytenbach’s volume of poems Oorblyfsel/ Voice Over (2009). The term oortekening (retracing), coined by Odendaal (2011), refers to corresponding parts of the Afrikaans and English versions in the volume which differs semantically but which are alike phonologically and orthographically. The argument is made that, in the context of the bilingual layout of the volume, the translation strategy oortekening invites bilingual readers to take part in an interpretative game as they read the two versions side-by-side. It is further argued that currently there are not adequate theories in translation studies to describe and understand this interpretative play. This study therefore uses theories from outside translation studies to describe the translation phenomenon in this volume and in this way provide a theoretical framework in which the unusual nature of the translation of the volume can be understood. Chapter one, an introduction, is followed by Chapter two which gives an overview of the main approaches in translation theory, describing how the problem statement would be described and understood by each. The linguistic approaches which are covered includes structural linguistics, text and sociolinguistics and functionalism. The literary approaches include descriptive translation studies and more ideologically orientated approaches. Enquiry is made into which aspects of each approach are useful to explain the volume and which are not. Chapter three applies three concepts from outside translation studies to oortekening in the context of the bilingual layout of the volume: Pratt’s contact zone (1987, 1991, 1992, 1996), Bhabha’s in-between (1993) and Lecercle’s remainder (1990). These concepts are used to analyse examples of oortekening from the volume. In the last chapter the findings of the study are discussed. The relationship between the two languages in the volume is compared to the historical and current relationship between Afrikaans and English. The chapter ends with a discussion of the variety of possible further studies based on this volume and this study. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die vertaalstrategie oortekening soos wat dit in die tweetalige konteks van Breytenbach se bundel Oorblyfsel/ Voice Over (2009) voorkom. Die term oortekening is aan Pieter Odendaal (2011) ontleen en verwys na ooreenkomstige dele van die Afrikaanse en Engelse weergawes in die bundel wat semanties verskil maar fonologies en ortografies ooreenkom. Daar word geargumenteer dat die vertaalstrategie oortekening in die konteks van die tweetalige uitleg van die bundel tweetalige lesers nooi om aan ’n interpretatiewe spel deel te neem soos wat hulle die twee weergawes saam lees. Daar word verder geargumenteer dat daar tans in die vertaalkunde nie gepaste teorieë is om die interpretatiewe spel te beskryf en te begryp nie. Die studie gebruik dus teorieë van buite die vertaalkunde om die vertaalverskynsel in hierdie bundel te beskryf en om so ’n teoretiese raamwerk voor te stel waarbinne die ongewone aard van die bundel se vertaalaspek begryp kan word. Die inleidende hoofstuk word gevolg deur hoofstuk twee wat ’n oorsig gee van die vernaamste vertaalteoretiese benaderings en hoe die probleemstelling volgens elk van die benaderings beskryf en verstaan word: die linguistiese benaderings, vanaf die strukturele linguistiek, teks- en sosiolinguistiek na die funksionalisme; en die literêre benaderings, wat deskriptiewe vertaalstudies en meer ideologies gefundeerde benaderings insluit. Daar word ondersoek ingestel na watter aspekte van elk van die benaderings nuttig is om die bundel te beskryf en watter tekortkominge elke benadering bied. Hoofstuk drie maak drie konsepte van buite die vertaalkunde van toepassing op oortekening in die konteks van die tweetalige uitleg van die bundel: Pratt (1987, 1991, 1992, 1996) se contact zone as die kontaksone, Bhabha (1993) se in-between as die (in)tussen(in) en Lecercle (1990) se remainder as die oorblyfsel. Hierdie konsepte word gebruik om voorbeelde van oortekening uit die bundel te analiseer. In die laaste hoofstuk word die bevindinge van die studie bespreek. Die verhouding tussen die twee tale in die bundel word vergelyk met die historiese en huidige verhouding tussen Afrikaans en Engels. Daar word laastens gewys op ’n verskeidenheid verdere navorsingsmoontlikhede wat hierdie bundel en hierdie studie bied.

Thesis (MPhil)–Stellenbosch University, 2014. / ENGLISH ABSTRACT: A suitable South African literary text is translated from English to Afrikaans to investigate the possibility of enriching the target culture, although literary translations from English have a limited readership in Afrikaans. The choice of Portrait with Keys by Ivan Vladislavić as source text is motivated in a discussion of its relevance to the target culture, and of its intrinsic literary merit. Enrichment of the target culture is defined within the context of the hermeneutic approach in translation studies. The interpretation of the source text and the role of the translator is emphasised, as seen in Steiner’s account of the hermeneutic motion and Venuti’s views on the visibility of the translator and cultural filtering. Lewis’s concept of abusive fidelity is considered, and ultimately Bandia’s proposed aim of achieving balance, or a middle course between foreignising and domesticating offers an attainable strategy. The annotation of the practical translation of a selection of texts from Portrait with Keys shows that a strategy of foreignisation, of rendering the characteristics of the source texts as closely as possible in the target text, is continually balanced by the translator with a strategy of domestication, in other words creating an idiomatic, accessible target text. / AFRIKAANSE OPSOMMING: ’n Geskikte Suid-Afrikaanse literêre teks word uit Engels in Afrikaans vertaal om die moontlikheid te ondersoek dat die doeltaal daardeur verryk kan word, hoewel literêre vertalings uit Engels ’n beperkte leserstal het. Die keuse van Portrait with Keys deur Ivan Vladislavić word gemotiveer deur ’n bespreking van die toepaslikheid daarvan binne die doelkultuur, en die intrinsieke literêre meriete van die teks. Die verryking van die doelkultuur word binne die konteks van die hermeneutiese benadering in vertaalstudies bespreek. Die interpretasie van die bronteks en die rol van die vertaler word voorop gestel, soos blyk uit Steiner se uiteensetting van die hermeneutiese handeling en Venuti se beskouings oor die sigbaarheid van die vertaler en kulturele filtering. Lewis se konsep van weerstandige getrouheid, abusive fidelity, word oorweeg en uiteindelik bied Bandia se klem op die bereiking van balans, of ’n middeweg tussen veruitheemsing, of foreignisation, en verinheemsing, of domestication, ’n uitvoerbare strategie. Die annotasie van die praktiese vertaling van ’n seleksie van tekste uit Portrait with Keys toon dat ’n strategie van veruitheemsing, deur die kenmerke van die bronteks so getrou moontlik in die doelteks weer te gee, deurgaans deur die vertaler opgeweeg word teen ’n strategie van verinheemsing, dit wil sê die daarstelling van ’n idiomatiese, toeganklike doelteks.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The Chronicles of Narnia by C.S. Lewis is internationally considered as one of the classics of children’s literature. The series consists of seven books, of which only the first four were translated into Afrikaans, namely Die Towenaar se Neef (The Magician’s Nephew), Die Leeu, die Heks en die Hangkas (The Lion, the Witch and the Wardrobe), Die Perd en sy Seun (The Horse and his Boy) and Prins Kaspian (Prince Caspian). According to the publisher, Human & Rousseau, they have no intention to translate the remainder of the series. The three books that have not been translated into Afrikaans are The Voyage of the Dawn Treader, The Silver Chair and The Last Battle. The main aim of this study is the practical translation of a selection of The Voyage of the Dawn Treader. The Functionalist approach of Vermeer and Nord, Toury and Chesterman’s translation norms from Descriptive Translation Studies, Venuti’s foreignisation and domestication and Klingberg’s cultural contex adaptation form the theoretical framework for both the discussion and analysis of the source text as well as the translation. The four types of translation problems as identified by Nord are used as the framework for the annotations of the translation. By doing a theoretically based translation, the connection between theory and practice is illustrated: the translator chooses a general approach and translation strategies and is consequently guided to make consistent translation choices on macro as well as micro levels. / AFRIKAANSE OPSOMMING: C.S. Lewis se Chronicles of Narnia beklee internasionaal ’n gevestigde plek in die kanon van kinder- en jeugliteratuur. Die reeks bestaan uit sewe boeke, waarvan slegs die eerste vier in Afrikaans vertaal is, naamlik Die Towenaar se Neef, Die Leeu, die Heks en die Hangkas, Die Perd en sy Seun en Prins Kaspian. Volgens die uitgewer, Human & Rousseau, word daar nie verdere vertalings van die reeks beoog nie. Die drie onvertaalde boeke in die reeks is The Voyage of the Dawn Treader, The Silver Chair en The Last Battle. Hierdie studie fokus hoofsaaklik op die praktiese vertaling van ’n gedeelte van The Voyage of the Dawn Treader. Vermeer en Nord se Funksionalisme, Toury en Chesterman se vertaalnorme uit Deskriptiewe Vertaalstudies, Venuti se vervreemding en domestikering en Klingberg se kulturele konteksaanpassing dien as teoretiese raamwerk vir sowel die bespreking en ontleding van die bronteks as die vertaling. Nord se vier tipes vertaalprobleme dien as raamwerk vir die annotasies tot die vertaling. Deur ’n teoreties gebaseerde vertaling te doen word geïllustreer hoe teorie en praktyk by mekaar aansluit: die vertaler kies ’n algemene benadering en vertaalstrategieë, en word sodoende begelei tot konsekwente vertaalbesluite op makro- en mikrovlak.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this dissertation I investigate how aesthetics, politics and ethics intersect as material flows in translation, and how these actualise in the oeuvre of Lettie Viljoen/Ingrid Winterbach. With the emphasis on praxis, I explore these three threads through the philosophy of Gilles Deleuze and Félix Guattari in particular, though not exclusively. With reference to Deleuze and Guattari’s project on ‘minor literature’, I demonstrate that Viljoen/Winterbach’s oeuvre contains a high degree of deterritorialisation through methods such as thematic refrains, stylistic devices and her use of Engfrikaans. In translation these methods are investigated in terms of the ethico-aesthetic framework developed by Guattari, the role of capitalism in its relation to translation and the publishing industry (i.e. the political), and how translation and/as praxis may begin to develop a nomadic ethics. Aesthetics, from a Deleuzo-Guattarian perspective is shown to be not about the value produced by capitalism, but rather about that which deterritorialises as a singularity. Such a singularity in literature may be said to actualise as a minor literature or, more accurately, a becoming-minor. With regards to politics in translation/translation in politics, I argue that the question of translation should no longer be What does this word/text mean? but rather What is the word/text/translation doing? When the emphasis moves from semantics to praxis I argue that translation, like other forms of literature, has the potential to affect social transformation. I put forth as part of my argument that this is possible through deterritorialising practices like écriture féminine and Viljoen/Winterbach’s use of Engfrikaans and the trickster figure, as such methods allow for bifurcations away from State territorialisations. And finally, I examine how translators might begin to develop a praxis informed by a nomadic ethics which is not reliant on a normative morality, but rather constitutes an orientation founded on heterogeneity and the repudiation of universality. / AFRIKAANSE OPSOMMING: In hierdie proefskrif word daar ondersoek hoe estetika, politiek and etiek as reële elemente saamvloei in vertaling, en hoe dit aktualiseer in the oeuvre van Lettie Viljoen/Ingrid Winterbach. Met die klem op praxis ondersoek ek dié drie elemente in besonder in terme van die filosofie van Gilles Deleuze en Félix Guattari, alhoewel nie eksklusief nie. Met verwysing na Deleuze end Guattari se projek aangaande ’n ‘klein (mindere) literatuur’, demonstreer ek dat Viljoen/Winterbach se oeuvre ’n hoë graad van deterritorialisasie weerspieël wat uit haar gebruik van metodes soos tematiese refreine, stilistiese instrumente en die gebruik van Engfrikaans voortspruit. In vertaling word hierdie metodes ondersoek in terme van die eties-estetiese raamwerk wat deur Guattari ontwikkel is asook die politieke rol van kapitalisme in verhouding tot vertaling en die publikasiebedryf, sowel as hoe vertaling as praxis daartoe mag bydra om ’n nomadiese etiek te ontwikkel. Vanuit ’n Deleuzo-Guattariaanse perspektief word daar aangetoon dat estetika nie handel oor die waarde wat kapitalisme voortbring nie, maar eerder oor die enkele-uniekheid (“singularity”) wat deterritorialisering meebring. Dit kan gestel word dat in literatuur sodanige enkele-uniekheid as mindere (“minor”) literatuur gesien kan word of, om meer akkuraat te wees, die voortbring daarvan kan aktualiseer. Betreffende politiek in vertaling/vertaling in politiek word daar aangevoer dat die vraagstuk van vertaling voortaan nie moet wees Wat beteken hierdie woord of teks? nie, maar eerder Wat vermag ’n woord of teks in die vertaling? Daar word verder aangevoer dat wanneer die klem vanaf semantiek na praxis verskuif vertaling, soos ander vorme van literatuur, die potensiaal inhou om sosiale transformasie te beïnvloed. As deel van die onderliggende argument word daar gepostuleer dat die voorgenoemde inderdaad moontlik is deur deterritorialiserende paraktyke soos écriture féminine en Viljoen/Winterbach se gebruik van Engfrikaans asmede die triekster-figuur omdat sulke metodes die geleentheid skep vir splitsing (“bifurcation”) weg van Staatsterritorialisering af. Ten slotte word ondersoek ingestel na hoe vertalers ’n praxis sou kon ontwikkel wat deur ’n nomadiese etiek en nie’n normatiewe moraliteit gelei word nie, maar wat eerder op ’n orientasie van heterogeniteit en die verwerping van essensie gebaseer is.