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Browsing Afrikaans and Dutch, German and French by Advisor "Morgan, N."
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Item Open Access Le traducteur rimbaldien: voleur ou voyant ?(University of the Free State, 2014) Krige, Magdalena; Morgan, N.English: Translating poetry from French to Afrikaans is not really a new concept in Afrikaans literature. The beginning of the twentieth century (around 1919 / 1920) already saw the publication of translations by Jan Celliers (1865 –1950) of the works of, amongst others, French writers Henri Bordeaux and Prosper Mérimée. Although on a humble scale, this tradition was sustained by poets like Uys Krige, Elizabeth Eybers and many others. Poetry translation is indeed one of the ways in which a foreign language enters the canon of a target language (in this case, Afrikaans) and by which the canon is not only enlarged, but also enriched. In thesearch for Afrikaans translations of the works of the well-known French poet, Arthur Rimbaud (1854 –1891), only one translation of the prose poem “Aube”‘ (Daybreak) could be found. This translation by Uys Krige was already published in 1950. Yet, there are various translations of Rimbaud poems in other languages and the question arose why this was not the case with Afrikaans. Although poetry translation can pose many linguistic and other obstacles, it has a history of success in world literature. Therefore, the stance was taken that it should be poss ible to translate Rimbaud in Afrikaans after all. As a poet during the transition period from mainly Romantism to Symbolism, Rimbaud brought about several innovations inthe French poetry of the time. In this vein, his poetry was sonorous with much synaesthesia:he changed French form and rhythm to such an extent that he made a total transition to prose poetry around 1873. In his own words he wanted to attain a language accessible to all the senses and he considered it only possible if he could be a “voyant” (“seer”). But is it possible for the translator of Rimbaud poems to also be a “voyant” or is he only a “voleur” (“thief”) who steals from the poet? This was the main question that would be investigated empirically in the research. In order to commence the translation of four poems (“Morts de quatre-vingt-douze”, “Ma bohème”, “Voyelles” and “Bonne pensée du matin”) and three prose poems (“L’éclair”, “Matin” en “Aube”), the various poems were contextualised in turn. The context is made up of the biography of the poet and the literary tendencies of the time, amongst other factors. The next step was to analyse and discuss the poems so that the translation could be approached with insight. Each poem presented its unique translation challenges. In this vein, it was not always possible to reproduce French rhythm in the translations, yet it was endeavoured to maintain a fairly regular rhythm. While it was decided to do away with the rhyme scheme, due to its limiting nature, alliteration and assonance were often reconstructed by means of other sounds, but with the aim to recreate the feeling in the French poem. Since these translations constitute a first encounter for Afrikaans speakers with Rimbaud poetry, the poetic contents were recreated as faithfully as possible. The differences between the original poem and the eventual translated poem were also discussed and explained. From this research it became clear that the translator has to make many compromises in order to bring the French poem home in the Afrikaans canon. In his endeavour he is,to a certain extent,a thief: indeed he steals words and techniques from the original poet, but at the same time he is a “voyant” who uses words, sounds and techniques in a creative way to facilitate an easy transition between the source language (French) and the target language (Afrikaans). The conclusion can thus be drawnthat it is indeed possible to translate Rimbaud in Afrikaans and that the translator as “Voleur” and “Voyant” makes a contribution in a creative way to enlarge and enrich the Afrikaans canon.Item Open Access Les bénéfices de l’enseignement des techniques de base de perfectionnement de langue à des apprenants (faux) débutants de FLE dans un contexte non francophone(University of the Free State, 2020-07) Barkhuizen, Albertus du Plooy; Ferreira-Meyers, K; Morgan, N.; Ferreira-Meyers, K. ; Morgan, N.𝑬𝒏𝒈𝒍𝒊𝒔𝒉 This thesis examines the teaching of FLE with a close look at its importance in South Africa and how this subject is taught in institutions of higher education. Existing teaching methodologies in this field are analysed in the South African context to highlight the importance of a custom-made intervention for local (foreign) language teaching. In response to the preliminary analysis of this study, an innovative programme for independent vocabulary learning is proposed and tested in an action research approach with a group of second-year university faux beginners in French as a foreign language. The first objective of this study is to establish the benefits of teaching basic language improvement exercises in the FLE classroom. The programme proposed in this thesis is based on language improvement exercises for student and professional interpreters. Although these exercises have been adapted for a group of faux beginners in French as a foreign language, they can easily and with little modification be applied to any language. The results of the study summarise the participants’ reactions to the proposed intervention and show how the exercises in the programme encourage learning development in that a neo language laboratory can be designed to boost autonomous learning at different levels of language proficiency. ___________________________________________________________________Item Open Access Morphing moonlight : gender, masks and carnival mayhem: the figure of Pierrot in Giraud, Ensor, Dowson and Beardsley(University of the Free State, 2007) Kreuiter, Allison Dorothy; Morgan, N.Pierrot’s snowy garments with their touch of black, the tragic, frozen mien of the mask above the baggy, over-large habit became a prevailing symbol of artistic expression during the fin de siècle. The silent white-masked figure became the disguise for the artist in assailing and exposing the hypocrisy, complacency and posturing that the artist saw as the masquerade of society. Beneath the clown’s guise the artist could imaginatively act out all the forbidden and darker secrets concealed beneath the inscribed societal conventions of humankind. Pierrot could murder, commit incest, get riotously drunk, rape, be a bigamist, commit suicide, be morbidly depressed, steal, be gluttonous, rage, hate, be excessively carnal or ascetic, a hermaphrodite or androgyne or entirely genderless in his transgression, flouting all and every taboo. Using the mask of the clown as a distancing technique, the artist was vicariously experiencing all that was contrary to the societal mores and laws against which he or she was in rebellion. In this the blending of gender became of paramount importance. The androgyne and the hermaphrodite were, like Pierrot, leading images in the arts of the fin de siècle. They blurred the reality of the division of gender and called into question all the attributes that were apportioned to what was male and what female. Pierrot was seen as partaking of this gender indecision because the sexuality that lay behind the loose white garments was entirely uncertain, as were the lurking carnal appetites of the silvery, moonlit clown. Gender was as ghostly and as paradoxical as the clown’s own nature. Pierrot’s origins in the Commedia dell’arte and his original role as a buffoon had altered by the late-nineteenth century. He had come to represent a silent malevolence and shadowy evil which was subtly contained within the lineaments of his lunar-coloured garments. The pantomime role had involved the challenging and transgressing of boundaries and the world of the demonic was invariably present, though it never triumphed; rather, laughter and love prevailed with repeated beatings and roistering. With the Decadent movement of the fin de siècle the demonic became the prevailing tone, filled with a sardonic bitterness and searing, although hidden pain. Pierrot’s silence and pallor were seen as the ultimate attributes with which to convey the trangressive and mordant nature of the liminal artistic life. The clown’s achromatic colour and his muteness were aspects that resembled the unsullied emptiness of page and canvas, and his mutable, quicksilver nature was as indeterminate and fluid as any interpretation or subjective artistic representation. The artist could thus mould the figure to represent what was wished and in so doing reveal how slippery and subjective any representation is. In the chapters on Giraud, Ensor, Dowson and Beardsley this thesis explores the carnivalesque and transgressive attributes of the wan clown as a central concern in the work of these artists. Kristevan and Bakhtinian theory on the carnivalesque and the relation of language to transgression will structure and guide the tenets and arguments of the thesis. The mutability and fluid metamorphosis from one state to another, disregarding boundaries, is what Pierrot will be seen to do in the works of the chosen artists. Indeterminate gender and lunatic emotions will be shown as essential to the shadowy and insubstantial nature that allows the clown to ignore the extant social morals, laws and boundaries. Giraud, Ensor, Dowson and Beardsley could perhaps be regarded as marginal artists of the late nineteenth century, but considerations of marginality and greatness are based on subjective choice. These artists were a part of the fabric of their time and are strands that braid together the thematic concerns and representations of the fin de siècle, and this gives to their work and importance, however liminal that might be.