Throughout her work as a novelist, Ursula K. Le Guin revisits the theme of balance. In The Word for World is Forest and The Lathe of Heaven, she brings dreaming into contact with balance as a force that either supports and facilitates a state of equilibrium or undermines and impedes it. The indigenous Athsheans of Word for World achieve psychological and physical balance by participating in a communal dreaming process in which they enter the lucid dream-time state that takes place between dreaming and waking. George Orr, in Lathe, however, fears his personal balance and that of the world are jeopardised by his capacity for “effective dreaming,” an ability that allows him to change “reality.” The ways in which balance is treated in the two novels provide grounds for comparison. This paper will reveal how balance is achieved through dreams for the Athsheans, while George Orr’s balance is threatened by dreams, and how community and threatening external forces play into this difference.

Locus standi is a Latin word for standing. Traditionally, it implies that a litigant must have sufficient interest to apply to the court for the enforcement of the right of another person, challenge the actions of the government, have a court declare a law unconstitutional or even to litigate in the interest of the public otherwise the application will not be successful. The interpretation of locus standi before the courts in most common law jurisdictions is liberal. Nigerian courts, however, interpret the principle of locus standi strictly, in the sense that standing is accorded the person who shows cause of action or sufficient interest. This position denies access to justice to many Nigerians who are poor or have no knowledge of their rights as the courts position on standing prevents NGOs or other individuals from applying to the courts on their behalf or litigating in the interest of the public. Presently, the Fundamental Rights (Enforcement Procedure) Rules 2009 regulate the practice and procedure for the enforcement of human rights before Nigerian courts. The Rules encourage the courts to ‗welcome public interest litigation in the human rights field‘ and not to dismiss or strike out human right cases for want of locus standi. However, it is doubtful if the courts will accept this invitation. This study looks at the context of the interpretation of the principle of locus standi by Nigerian Courts and its effect on access to justice and public interest litigation by NGOs and individuals. It also examines the impact of the provision for locus standi of the Fundamental Rights (Enforcement Procedure) Rules 2009. Finally, this study provides an analysis of the interpretation of this concept in other common law jurisdictions such as Kenya, India, United Kingdom and South Africa who once interpreted the concept strictly but now interpret it more liberally. This comparison is necessary to show that Nigerian courts are isolated in their position in the interpretation of locus standi and that there is need for the courts to conform to international best practice. / Dissertation (LLM)--University of Pretoria, 2014 / Centre for Human Rights / LLM / Unrestricted

ABSTRACT Ursula K. Le Guin is an American author of novels, short stories, poems, children's books, and essays; she predominantly writes science fiction and fantasy. Le Guin first began publishing in the 1960s and continues her work today including speaking engagements in and around her home in Portland, Oregon. Her most recent publication is The Real and Unreal: Selected Stories (2 vol) from 2012. Le Guin is particularly known for her books set in the Hainish Universe. These short stories and novels comprise what is sometimes referred to as the Hainish Cycle and discuss various themes of gender, ecology, religion, and politics. The universe is believed to be seeded from and governed principally by the world known as Hain. The Hainish global government undergoes a transformation from its original iteration as the imperial League of All Worlds into the more cosmopolitan peace-keeping Ekumen and while the publication chronology of the works and the internal chronology of the universe differ there is a notable political evolution from the League to the Ekumen. By studying the characters of Raj Lyubov, Genly Ai, and Havzhiva from the novels The World for World is Forest (1972), The Left Hand of Darkness (1969), and Four Ways to Forgiveness (1995) this paper will examine assumed cultural understandings regarding themes of empire, imperialism, cosmopolitanism, and governance by building on the criticism of James W. Bittner and David M. Higgins. I will utilize the theoretical science fiction frameworks of Steve Shaviro and Istvan Csicsery-Ronay Jr. in conjunction with Michael Ignatieff's theory Empire Lite to demonstrate Le Guin's capacity to continually envision new parameters for alien contact and negotiation and explain how her work in world building and character development challenges readers to question existing concepts of empire through the evolution and exhaustion of two systems of global governance.

The primary aim of the present study is to gain an understanding of the translation process involved when translating song lyrics by investigating to what extent 10 translation features occur in a corpus of 12 song lyrics from the musicals CHESS, MAMMA MIA! and Kristina från Duvemåla. Comparing the source texts to the translated texts, taking into account: number of words, syllables vs. words, word-for-word translations, additions/omissions, metaphors, rhymes, reorganization of text, paraphrases and last if there were any untranslated English words kept in the Swedish version – led to the conclusion that the translation strategy of using paraphrases (express something written in other words) was the most common translation strategy used when translating song lyrics. In addition, translating song lyrics also requires a translator who is musical, has good association skills, a large vocabulary and is also very good at playing with words. Taking the findings into consideration it could be said that the word 'translation' should be avoided in reference to the act of transferring the song lyrics of a musical in one language into another language. More apt descriptive phrases for this process would probably be 'text arrangement' or 'interpretation'.

The aim of this thesis has been to analyze German light verb constructions with the light verb leisten and their translations into Swedish. From the identified types containing a nominalization + leisten as parts of a light verb construction, three construction types were examined more closely, namely Beitrag leisten, Arbeit leisten and Hilfe leisten. These light verb constructions showed a higher representation in the material and were hence selected for a further in-depth study. As for the translations into Swedish, three main translation strategies were identified: word-for-word translations, full-verb replacements, and paraphrases/omissions.  The results show that paraphrasing is the preferred strategy, although the result is quite even between all the strategies. The results also show that each of the three constructions preferred one each of the three translation strategies, which opens for further studies in this area. One explanation for this is, relating to the semantic meaning of the nouns and to their flexible characteristics into Swedish, that nouns with a narrower semantic meaning are more inclined to be translated word-for-word, but also depending on whether the nominalization has a function as a direct object in the sentence, is modified by an adjective, or is merely part of a predicative.

В магистерской диссертации осуществлена попытка разграничить буквализм как переводческую ошибку и буквальность как стратегию перевода. Сопоставлены разновременные русскоязычные варианты XXXII главы романа Ч. Диккенса «Посмертные записки Пиквикского клуба». Сделаны выводы об исторической эволюции отношения к буквальному переводу. / This master’s thesis attempts to distinguish the word-for-word translation as an error and as a translator’s strategy. Chapter XXXII of «The Posthumous Papers of the Pickwick Club» by Charles Dickens is compared in two Russian versions. The author draws conclusions on the historical evolution of the attitude towards word-for-word translation.

Магистерская диссертация представляет собой исследование переводов Анны Ахматовой из древнекитайской поэзии. Сопоставительный анализ «оригинал – подстрочник – перевод» ведется на трем основных уровнях: лексическом, образном и строфически-композиционном. В итоге делаются выводы о том, что из двух способов перевода – дословное воспроизведение языка оригинала и перевод, основанный на стремлении отразить "дух", Ахматова избирает второй. / This master's thesis is a study of Anna Akhmatova's translations from ancient Chinese poetry. The comparative analysis of "original - word for word translation - translation" is conducted on three main levels: lexical, figurative and strophic-compositional. The conclusion is that Akhmatova chooses the second of the two modes of translation - word for word translation of the original language and translation based on the desire to reflect the "spirit".