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Congolese Women's War Trauma in Lynn Nottage's Ruined 林恩·诺塔奇的废墟中刚果妇女的战争创伤
Pub Date : 2023-03-01 DOI: 10.21608/misj.1999.298771
Sally Mahfouz El Serafi, Mona Wahsh, N. Haikal
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引用次数: 0
Identity Process and the Challenges of Immigration: Reading Chimamanda Ngozi Adichie’s Americanah (2013) 身份认同过程与移民挑战:阅读奇曼达·恩戈齐·阿迪奇的《美国人》(2013)
Pub Date : 2023-03-01 DOI: 10.21608/misj.2023.189238.1041
Yasmine M. Ahmed
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引用次数: 0
(// Kaggen) A god of Southern Africa during the late Stone Age (10000 BC - 500 AD) (// Kaggen)非洲南部石器时代晚期(公元前10000年-公元500年)的神
Pub Date : 2023-03-01 DOI: 10.21608/misj.2023.192617.1042
A. Ali
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引用次数: 0
Detection and mapping of land use land cover with Support vector machines SVM-based change monitoring using Landsat and Sentinel-2 data. The case of Quseir, Red Sea 基于支持向量机支持向量机的土地利用和土地覆盖变化监测,利用Landsat和Sentinel-2数据。红海的库西尔一案
Pub Date : 2022-12-05 DOI: 10.21608/misj.2022.273084
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引用次数: 0
"Dancing as if Language no Longer Existed": Politics of Songs and Dance in Lynn Nottage's Ruined “舞蹈仿佛语言不再存在”:林恩·诺塔奇《废墟》中的歌舞政治
Pub Date : 2022-10-01 DOI: 10.21608/misj.2023.185293.1040
M. Salama
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引用次数: 0
Environmental Injustice in Helon Habila’s Oil on Water (2011) Helon Habila的《水上石油》中的环境不公(2011)
Pub Date : 2022-10-01 DOI: 10.21608/misj.2023.181039.1039
Heba A. Abd-ElWahab
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引用次数: 0
African American Female Exposure to Triple Oppression in Lynn Nottage’s “Intimate Apparel” 从林恩·诺塔奇的“贴身服饰”看非裔美国女性对三重压迫的暴露
Pub Date : 2022-10-01 DOI: 10.21608/misj.2022.135358.1034
ٌُRania Mohmed Radwan El Sayed, Mona Wahsh
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引用次数: 0
The White Lady painting in Namibia and its counterpart in Algeria (4000 ± 500 BC) (A comparative study in African rock art) 纳米比亚的白夫人画和阿尔及利亚的白夫人画(公元前4000±500年)(非洲岩石艺术的比较研究)
Pub Date : 2022-01-01 DOI: 10.21608/misj.2022.107878.1029
A. Ali
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引用次数: 0
Power Corruption in Es’kia Mphahlele’s Chirundu (1979) Es’kia Mphahlele《Chirundu》中的权力腐败(1979)
Pub Date : 2022-01-01 DOI: 10.21608/misj.2022.99492.1027
A. Sène
African politicians and writers were together in the fight for the sovereignty of their countries but soon after the independences, they parted. The point is that African politicians, who took over from the colonizers, disappointed their people by their governing system which was characterized by power abuse, corruption, dictatorship, ignorance of their populations’ expectations, injustice and immorality among other vices. Instead of really serving the masses, the new rulers were serving themselves. Thus, many novels appeared in the sixties and the seventies in which African writers criticized the disappointing behaviour of postcolonial African political leaders. One of these novels is Es’kia Mphahlele’s Chirundu (1979) where the author also denounces colonial rule. From a postcolonialist perspective, the paper explores power corruption in Mphahlele’s Chirundu. Based on postcolonialism, racism, sociology and culture as theories, the study will analyze on the one hand the denunciation of colonial rule and on the other hand the disappointing behaviour of African postcolonial rulers and its causes.
非洲政治家和作家曾一起为国家主权而战,但在独立后不久,他们就分道扬镳了。问题是,从殖民者手中接过政权的非洲政客们,对他们的统治体系感到失望,这种体系的特点是滥用权力、腐败、独裁、无视人民的期望、不公正和不道德等。新统治者没有真正为群众服务,而是为自己服务。因此,在六七十年代出现了许多非洲作家批评后殖民时代非洲政治领导人令人失望的行为的小说。其中一部小说是Es'kia Mphahlele的《Chirundu》(1979),作者在书中也谴责了殖民统治。本文从后殖民主义的视角,探讨了姆帕赫莱莱《奇伦杜》中的权力腐败。本研究以后殖民主义、种族主义、社会学和文化为理论基础,一方面分析对殖民统治的谴责,另一方面分析非洲后殖民统治者令人失望的行为及其原因。
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引用次数: 0
Meaning Gaps and The Task of Translating Poetry: Notes on Lucille Clifton’s Translation of “Afrique” By David Diop 意义差距与诗歌翻译任务——记克利夫顿对大卫·迪奥普《非洲》的翻译
Pub Date : 2022-01-01 DOI: 10.21608/misj.2022.121580.1032
A. Konate
Translation is the reproducing of the meaning of the source languageculture through the closest natural equivalent, says Eugene Nida. Beyond the reproduction of the equivalent, some other detail, and not the least, must be factored in the process of translation. This is all the truer when it comes to translating poetry. If prose may be translated without absolute regard to the form, the same does not hold for poetry. The task of translator requires that the receiving end of the process of translating take advantage of the aesthetics enjoyed in the source language. When translating so essential a poem in African literature of French expression, Lucille Clifton, an African-American poetess and translator, seemed to not having been able to escape this snare. There are some meaning gaps in her translation of David Diop’s “Afrique”. This can be seen in instances where some area-specific terms in Sub-Saharan Africa used in the original. This note on translation seeks to lay bare the lacunas and attempts to fill them up with some suggestions.
尤金·奈达认为,翻译是通过最接近的自然对等物来再现源语言文化的意义。除了对对等物的复制之外,在翻译过程中还必须考虑到其他一些细节,而且不是最不重要的。在翻译诗歌时更是如此。如果翻译散文可以不考虑其形式,那么翻译诗歌就不行。译者的任务要求翻译的接收方充分利用原语的审美。在翻译非洲文学中如此重要的一首以法语表达的诗时,露西尔·克利夫顿,一位非洲裔女诗人兼翻译家,似乎没能逃脱这个陷阱。她翻译大卫·迪奥普的《非洲》时存在一些意义上的空白。这可以从原文中使用撒哈拉以南非洲一些特定地区术语的情况中看出。这篇关于翻译的文章试图揭示这些空白,并试图用一些建议来填补它们。
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引用次数: 0
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