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Naming technique in Maphalla’s drama Tahleho Maphalla戏剧《Tahleho》中的命名技巧
IF 0.2 Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/02572117.2023.2200456
Rethabile Possa-Mogoera
The main objective of this article is to investigate the naming technique in Maphalla’s drama Tahleho. Naming is a very important tool used in various African cultures to convey certain messages, either to an individual, family members, or a community. The naming of various objects is linked with the socio-political factors of countries where anthroponyms and toponyms are found. Naming in literary work also plays a role in any genre. Many African authors use a certain naming technique to achieve their objective. Names are bestowed on characters with a purpose. Maphalla seems to have used a certain naming technique to develop his story. In literary works, choices of names should not be undertaken randomly but should contribute to the development of the elements of the genre. Characters are given names to show their significance in the development of plot structure, characterisation, theme, and style in literary art. This study will adopt literary onomastics, which is concerned with the significance of names in literary works to investigate the naming technique used in Tahleho. To achieve this, Maphalla’s drama Tahleho will be analysed, looking specifically at the naming of characters.
本文的主要目的是探讨马普哈拉戏剧《塔勒霍》中的命名技巧。在各种非洲文化中,命名是一种非常重要的工具,用来向个人、家庭成员或社区传达某些信息。各种物体的命名与发现人类名称和地名的国家的社会政治因素有关。文学作品中的命名也在任何类型中发挥作用。许多非洲作家使用某种命名技术来实现他们的目标。名字是赋予有目的的人物的。Maphalla似乎使用了某种命名技术来发展他的故事。在文学作品中,名字的选择不应该是随机的,而应该有助于流派元素的发展。给人物取名字是为了显示他们在文学艺术中情节结构、人物性格、主题和风格发展中的意义。本研究将采用文学拟声学,即关注名字在文学作品中的意义,来研究《塔勒霍》中使用的命名技术。为了实现这一点,将对Maphalla的戏剧《Tahleho》进行分析,特别关注角色的命名。
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引用次数: 1
Language function and literary translation: the realisation of transculturation in the translation of Sans Famille from French to Igbo 语言功能与文学翻译——从《法米莱》到《伊博》的翻译看跨文化的实现
IF 0.2 Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/02572117.2022.2132694
C. Ngele
Translation as an exercise was born out of the need to comprehend texts written in foreign languages. There are two sides to this comprehension; the text and the reader of the translated version. Every literary text has its target audience; in the same manner, the translated versions have their target audiences. In translating, one tries to create a text that would be comprehensible to the target audience; to effectively create this, one must consider several factors, one of which is culture. Culture is often richly represented in literature. This study aims at finding a solution to one of the problems of literary translation: the means of depicting European culture to an African audience. The study illustrates the relationship between Halliday’s systemic functional linguistics and translation through translating Hector Malot’s novel Sans Famille (2006) from French to Igbo. To adapt the translated version to an Igbo audience, French cultural elements are replaced with those existing in Igbo culture, but having the same meaning as those seen in the French text. This is known as cultural adaptation or transculturation. This study realises transculturation by applying the semio-pragmatic translation theory. The result shows that transculturation leads to the creation of a new text.
翻译作为一种练习是由于理解外语文本的需要而产生的。这种理解有两个方面;文本和读者的翻译版本。每一个文学文本都有它的目标受众;同样,翻译版本也有自己的目标受众。在翻译过程中,人们试图创造一种能被目标受众理解的文本;为了有效地创造这一点,我们必须考虑几个因素,其中之一就是文化。文化常常在文学中得到丰富的表现。本研究旨在解决文学翻译中的一个问题:如何向非洲读者描绘欧洲文化。本研究通过将马洛的小说《Sans Famille》(2006)从法语翻译成伊博语来说明韩礼德的系统功能语言学与翻译之间的关系。为了使翻译版本适应伊博读者,法语文化元素被替换为伊博文化中存在的文化元素,但与法语文本中看到的意义相同。这被称为文化适应或跨文化。本研究运用半语用翻译理论来实现跨文化。结果表明,跨文化导致了新文本的创造。
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引用次数: 0
The application of appraisal theory in Maphalla’s poem: ‘Ditema’ 评价理论在马普哈拉诗歌《迪特玛》中的应用
IF 0.2 Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/02572117.2023.2200484
Mathai Monyakane, E. N. Malete
Evaluative language includes any linguistic expressions (written or spoken) that may be perceived as conveying stances or attitudes (feelings and views) towards entities and people in the real world. It also utilises the material presented and the parties involved in the communicative exchange. The poetic text is that which utilizes numerous figures of style to provide emotions and feelings while respecting the criteria of the style of the author. Regarding Maphalla’s anthologies, several South African scholars have worked on his literary works from various literary approaches, but have not used appraisal theory in their analysis. The central aim of this study is to investigate, employing the appraisal framework, a theoretical tenant of systemic functional linguistics, the way language is used evaluatively in Sesotho in Maphalla’s poem, ‘Ditema’ (decoration patterns). This study maintains that there are more positive words used in this poem, indicating that the poet uses the judgement of social esteem, praising hard work and commitment and that there are also social sanctions in the poem, where the poet scorns laziness.
评估语言包括任何可能被视为传达对现实世界中的实体和人的立场或态度(感受和观点)的语言表达(书面或口头)。它还利用了所提供的材料和参与交流的各方。诗歌文本是在尊重作者风格标准的同时,利用大量的风格人物来提供情感和感受的文本。关于马普哈拉的选集,一些南非学者从不同的文学方法对他的文学作品进行了研究,但在分析中没有使用评价理论。本研究的中心目的是利用系统功能语言学的理论租户——评价框架,研究Maphalla诗歌《Ditema》中Sesotho对语言的评价使用方式。本研究认为,这首诗中使用了更多积极的词语,表明诗人使用了社会尊重的判断,赞扬了辛勤工作和承诺,诗中也有社会制裁,诗人蔑视懒惰。
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引用次数: 1
The significance of the naming technique in KPD Maphalla’s novel, Kabelwamanong KPD Maphalla小说《Kabelwamanong》命名手法的意义
IF 0.2 Q1 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/02572117.2023.2200471
P. Phindane
This article is a conceptual study of onomastics in KPD Maphalla’s novel, Kabelwamanong, focusing on the naming of characters and places. The study intends to determine the extent to which naming is utilised as a technique to show how the author presents his characters and how they contribute towards the development of themes in this text. Maphalla’s choice and use of names is deliberate, and the technique makes a significant contribution to his narrative. The author is aware of the power of names and naming. The study reveals that in Kabelwamanong, Maphalla makes good use of names and naming to express opinions or make philosophical comments about characters and the roles assigned to them. Names, therefore, assist in identifying character types, reflect philosophical and moral positions that characters represent, and provide hints to the meaning of the text. The article concludes that names in Kabelwamanong are not mere decorative strategies, but rather vital aspects of literary art. The quality of the narrative could be improved by the way the naming technique is used in this text.
本文对KPD Maphalla的小说《Kabelwamanong》中的象声学进行了概念研究,重点是人物和地点的命名。本研究旨在确定命名在多大程度上被用作一种技术,以展示作者如何展示他的角色,以及他们如何对本文主题的发展做出贡献。Maphalla对名字的选择和使用是经过深思熟虑的,这种技巧对他的叙述做出了重大贡献。作者意识到名字和命名的力量。研究表明,在Kabelwamanong,Maphalla很好地利用名字和命名来表达对人物及其角色的看法或发表哲学评论。因此,名称有助于识别字符类型,反映字符所代表的哲学和道德立场,并为文本的含义提供提示。文章认为,《卡巴尔瓦马农》中的名字不仅是装饰策略,而且是文学艺术的重要方面。
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引用次数: 1
Uhlalutyo bunzululwazi ngokomxholo ochongiweyo kwingqokelela yesihobe sikaWelile Shasha ethi Umsila Wembulu
IF 0.2 Q1 Arts and Humanities Pub Date : 2022-09-02 DOI: 10.1080/02572117.2022.2132689
M. Diko
Olu phando lusebenzisa uphando ntyilazwi, lujolise ekugrombonceni isihobe sikaWelile Shasha kwingqokelela yakhe ethi Umsila Wembulu. Apha kweli phepha, eyona nkalo umphandi ajonge kuyo kukuchonga umbongo omnye ogxile kumxholo ongempilo, ze loo mxholo usetyenziswe ukusunduza nokugqwesisa iingxoxo bunzululwazi kuncwadi lwesiXhosa ezingena ncakasana nakwixesha langoku lentsholongwane yeCOVID-19. Isizathu esityhilizele eli phepha ekuchongeni umbongo omnye kukuminxiselwa kweentsingiselo kuwo ngendlela ethi yenze umbongo lo ube namandla xa lowo ethe wawupeculula. Lo mxholo uShasha abonga ngawo yinxalenye yemixholo ephambili kule mbalo yakhe. Into enyuswa lolu phando ngumba othi, uncwadi lwesiXhosa alubhityanga nakancinane ukuba lungangasetyenziswa ukuphalisa iingcingambono zentlalo, zempilo, zorhwebo, ukubalula nje ezimbalwa. Asikuko nokuba uncwadi lwesiXhosa olu luthelekiswa noncwadi lwasezizweni. Ekugqibeleni, umphandi unethemba lokuba iintsingiselo eziqhushekwe zade zancathama kulo mbongo kaShasha, ngokomxholo ochongiweyo, ziza kubhentsa ngokuphandle de ziqweqwedisele abanye abaphandi ekuthini babeke umnwe kuzo zonke iinkalo zentlalo kususelwa kwisiXhosa. Kulo msebenzi umphandi ulandela indlela ehlalutyayo, ephendlayo nephicothayo. Ukuqameza nokunqumlezisa iingxaki ezikhoyo ngalo mbandela, uphengululo loncwadi luya kusetyenziswa njengodondolo lokucacisa ubunto ngobunto bayo; ingxaki kunye nomsantsa okhoyo kwisiXhosa nakwimiba yesifo sesifuba. Abathandi, abafundi nootitshala besiXhosa baya kuba nethuba lokwazi ngezinye zeendlela ezikumgangatho ophezulu zokuhlalutya isihobe sesiXhosa, kodwa ke umfundi weli phepha angalindeli kufundiswa ngeendlela zokuhlalutya isihobe.
这一领域使用了一项军事调查,这导致了韦尔·沙沙收藏的名为“长城”的总部的倒塌。在本页上,主要成年人将选择另一个与健康背景相结合的主题,该主题用于推动和促进当前新冠肺炎科萨图书馆的科学对话。这个页面之所以选择一个对象,是为了在对象改进时以使其强大的方式移动转换。这个主题建议使用一块布作为前景色。这一领域提出的观点是,科萨的书并不局限于它可以用来根除社会、健康、贸易等。它与世界上的科萨图书馆不同。最后,这位农民希望,在所选主题的背景下,被点燃的电线将在Shasha区被打碎,并将被出售,直到其他房东解决了Xhosa带来的所有头痛问题。在这部作品中,成年人遵循他的游戏方式。为了解决和解决社区中的问题,该书的发行将被用作从性质上解释问题的一种手段;科萨和皮肤病的问题和速度。科萨号的爱好者、门徒和驱逐舰将有机会以其他方式学习科萨号潜艇的航行,但学生不会等待通过航行的方式来学习。
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引用次数: 8
Negotiating marital challenges through classic wedding songs: a case of the Ndebele in Zimbabwe 通过经典的婚礼歌曲协商婚姻挑战:以津巴布韦恩德贝莱为例
IF 0.2 Q1 Arts and Humanities Pub Date : 2022-09-02 DOI: 10.1080/02572117.2022.2132692
Lickel Ndebele
In African cultures, the Ndebele included, a strong society is one that is made up of healthy and robust family relationships, with the family institution serving as a foundation for the survival and continuity of society. However, the frequency of divorce nowadays suggests that the foundations of marriages are not as strong as they ought to be. Thus, this article seeks to examine how traditional Ndebele society has always sought to help couples to prevent or to manage marital challenges that could destabilise marital bonds and trigger marital failure. The article also attempts to find out if there are lessons that could help with marital distress and failure, single parenthood and many more issues on the increase in the embattled marriage institution. This examination is mainly done through a philosophical analysis of traditional wedding songs. Wedding songs are structured cultural expressions that reflect society’s marriage values and its efforts in the promotion of marital stability and success. The article adopts the theory of Africana womanism. The theory is critical here because of its commitment towards the stability of the family. The data was collected in Tsholotsho District in Zimbabwe from 2016 to 2019 through interviews, group discussions and participant observation.
在包括恩德贝勒人在内的非洲文化中,一个强大的社会是由健康和牢固的家庭关系组成的,家庭制度是社会生存和延续的基础。然而,如今离婚的频率表明,婚姻的基础并没有达到应有的程度。因此,本文试图探讨传统的恩德贝勒社会是如何帮助夫妻预防或管理可能破坏婚姻纽带并引发婚姻失败的婚姻挑战的。这篇文章还试图找出是否有教训可以帮助解决婚姻困境和失败、单亲以及更多关于陷入困境的婚姻制度增加的问题。本研究主要通过对传统婚礼歌曲的哲学分析来完成。婚礼歌曲是结构化的文化表达,反映了社会的婚姻价值观及其在促进婚姻稳定和成功方面所做的努力。本文采用了非洲女性主义理论。这一理论在这里至关重要,因为它致力于家庭的稳定。数据是2016年至2019年在津巴布韦Tsholotsho区通过访谈、小组讨论和参与者观察收集的。
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引用次数: 0
Royal identities and social relations in MER Mathivha’s drama Mabalanganye: a critical language awareness perspective of knowledge regeneration 默·马蒂夫哈戏剧《马巴拉甘耶》中的王室身份与社会关系:知识再生的批判性语言意识视角
IF 0.2 Q1 Arts and Humanities Pub Date : 2022-09-02 DOI: 10.1080/02572117.2021.1948227
Thomas Sengani
There is an unfair view that writers in African languages are artists who mostly focus on aspects of literary genres such as theme, plot, characterisation, conflict, setting, time, language and style. From a thematic point of view, Mathivha’s (1974) drama Mabalanganye is often regarded as one that depicts the Tshivenḓa-speaking community of yesteryear, when African royal leadership were a law unto themselves. Some see it as a mythical story in which Mathivha illustrates and reconstructs some failed African history. The purpose of this article is to demonstrate through critical language awareness, and the social constructionist and ethnography of communication theories how Mathivha employs elements of drama to highlight the sociocultural and political life of identity creation and social relations among the Vhavenḓa people of South Africa. Mathivha uses epithets such as titles, clan names and praise poetry as both referential expressions and address names to demonstrate how they construct identities that establish social relations between royal leadership and their subjects, in order to illustrate participatory nationbuilding endeavours. Through these expressions, Mathivha further illustrates how African indigenous knowledge is regenerated to be lived and experienced as a sociocultural and political resource.
有一种不公平的观点认为,非洲语言的作家是艺术家,他们主要关注文学流派的各个方面,如主题、情节、人物塑造、冲突、背景、时间、语言和风格。从主题的角度来看,马西夫哈(1974)的戏剧《马巴兰干耶》经常被认为是一部描绘契文的戏剧ḓ去年的一个高峰社区,当时非洲王室领导权是他们自己的法律。一些人认为这是一个神话故事,马蒂夫哈在其中阐述并重建了一些失败的非洲历史。本文的目的是通过批判性语言意识、传播理论的社会建构主义者和民族志来展示马蒂夫哈如何运用戏剧元素来突出维哈文人身份创造和社会关系的社会文化和政治生活ḓ南非的一个民族。Mathivha使用头衔、姓氏和赞美诗等形容词作为指称表达和称呼,展示他们如何构建身份,在王室领导层和臣民之间建立社会关系,以说明参与性的国家建设努力。通过这些表达,Mathivha进一步说明了非洲土著知识是如何再生的,作为一种社会文化和政治资源来生活和体验的。
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引用次数: 0
A critical analysis of Mthunzikazi Mbungwana’s protest in ‘Ababuyanga’ 姆邦格瓦纳在阿巴布扬加抗议活动的批判性分析
IF 0.2 Q1 Arts and Humanities Pub Date : 2022-09-02 DOI: 10.1080/02572117.2022.2139938
L. Makhenyane
Despite the substantial research on poetry produced by female Xhosa poets on sociopolitical issues, there is little commentary on their poetry on sociocultural issues in the post-apartheid era. As a result, their voice and role in sociocultural issues is misunderstood. Using textual analysis, this article critically analyses Mbungwana’s sociocultural protest in her poem ‘Ababuyanga’. The poem stems from the death of her brother, who went to initiation school and never returned. Mbungwana notes that her brother had not come back yet, as women, they were not supposed to talk about it or even ask what had happened at the initiation school. This article uses the theory of African feminism to consider Mbungwana’s protest against the sociocultural oppression of women. Mbungwana argues against keeping information from women and silencing them on issues of ulwaluko (loosely translated as male circumcision and initiation rites), even when they lose a loved one. She argues that women are intellectually capable of being part of the solution to the problem of dying initiates, without compromising the secrecy and sacredness of the custom. The analysis of Mbungwana’s protest contributes to the understanding of voice and the role of women in sociocultural issues.
尽管对科萨女诗人关于社会政治问题的诗歌进行了大量研究,但对她们在后种族隔离时代关于社会文化问题的诗歌几乎没有评论。因此,他们在社会文化问题上的声音和作用被误解了。本文运用文本分析的方法,对姆邦瓦纳诗歌《阿巴布扬加》中的社会文化抗议进行了批判性分析。这首诗源于她的哥哥的去世,他上了启蒙学校,再也没有回来。姆邦瓦纳指出,她的哥哥还没有回来,作为女性,她们不应该谈论这件事,甚至不应该问启蒙学校发生了什么。本文运用非洲女权主义理论来思考姆邦瓦纳对女性社会文化压迫的抗议。姆邦瓦纳反对向女性隐瞒信息,并在ulwaluko(大致翻译为男性割礼和入会仪式)问题上让她们沉默,即使她们失去了亲人。她认为,在不损害习俗的保密性和神圣性的情况下,女性在智力上有能力成为解决垂死提升者问题的一部分。对姆邦瓦纳抗议活动的分析有助于理解妇女在社会文化问题中的声音和作用。
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引用次数: 2
Mofokeng’s dramatic play, Senkatana, epitomises intertextuality Mofokeng的戏剧《Senkatana》是互文性的缩影
IF 0.2 Q1 Arts and Humanities Pub Date : 2022-09-02 DOI: 10.1080/02572117.2022.2139943
Johannes Seema
SM Mofokeng’s dramatic text Senkatana (1982) is a classic Sesotho tragedy. The drama has been adapted from the well-known Basotho folktale Moshanyana wa Senkatana. There are also certain authors that inspired Mofokeng to create Senkatana. Intertextuality has played an important role in creating Mofokeng’s masterpiece. The protagonist is Senkatana, whose fall is caused by his own good intentions. Audiences and readers develop pity and horror for Senkatana for the situation in which he finds himself. No one can help him emerge from his circumstances, nothing can help him choose the safe way as opposed to the tragic one. Senkatana, the tragic hero, does not make decisions independently, because badimo, the ancestors and God, control his destiny, and he cannot fight badimo and God. The central argument in this article is that Mofokeng’s dramatic text attains meaning from other texts and authors. Senkatana’s meaning appears to be content-bound, but when readers look at its content, it is boundless because it refers to other previous texts. For the purpose of this article, the theory of intertextuality will serve as the point of departure to investigate the manner in which folktale, Greek tragedy, Shakespeare and the Bible generate meaning in the act of Mofokeng’s writing of Senkatana.
莫福铿的戏剧文本《仙卡塔那》(1982)是一部典型的塞索托悲剧。该剧改编自著名的巴索托民间故事《摩山亚纳瓦森卡塔纳》。也有一些作家激发了莫佛坑创作《仙卡塔那》的灵感。互文性在莫的代表作创作中发挥了重要作用。主角是森卡塔纳,他的堕落是由于他自己的善意。观众和读者对森卡塔纳所处的处境产生了怜悯和恐惧。没有人能帮助他摆脱困境,没有人能帮他选择安全的方式,而不是悲惨的方式。悲剧英雄森卡塔纳并不是独立决策的,因为祖先和上帝巴迪莫控制着他的命运,他无法与巴迪莫和上帝对抗。本文的中心论点是莫的戏剧文本从其他文本和作者那里获得了意义。Senkatana的含义似乎是有内容限制的,但当读者看到它的内容时,它是无限的,因为它指的是以前的其他文本。本文将以互文性理论为出发点,考察民间故事、希腊悲剧、莎士比亚和《圣经》在莫佛坑的《圣卡塔那》创作过程中产生意义的方式。
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引用次数: 0
Kagego ya padi ya Phitlhelelo kwa setlhoeng ya ga J Malao J Malao集点的Phitlheleo垫纸
IF 0.2 Q1 Arts and Humanities Pub Date : 2022-09-02 DOI: 10.1080/02572117.2022.2139941
Richard Lephethi Moloele
Padi le kgankhutshwedi batlile go bopega ka mokgwa o o tshwanang. Kgankhutshwe e ngangegile thata go gaisa padi. Seno se dirwa ke gore mopadi o na le nako ya go tlhalosa ditiragalo ka tsenelelo, mme ga a gapelediwe ke sepe go ngotla tiriso ya mafoko, mme mokwadi wa kgankhutshwe ena, o eta a nna bofitlha. Patlisiso e, e leba ka moo padi Phitlhelelo kwa Setlhoeng e agilweng le ka moo e tsamaelanang le diponagalo tse di farologaneng tsa padi ka gona. Ditiragalo le diponagalo di tla tlhalosiwa go lebilwe ka moo ditiragalo di phuthologang ka gona. Sa botlhokwa ke go tlhola gore a padi e, e kgotsofatsa ditlhokego tsa go nna padi e e kwalegileng sentle, e e tseetsweng matsapa. Mokgwapatlisiso o o dirisitsweng mo patlisisong e, ke wa naratholoji. Padi e, ga e a tlala thata go nna padi, bogolo e ka nna patsana gonne ditsejwana tsa yona di mokawana. Se sengwe ke gore mokwadi o kgonne go ntsha bokgoni jwa gagwe gonne patsana e, e na le diponagalo tsotlhe tse di agang padi.
Padi le kgankhutshwedi batlile去了一个叫mokgwa到tshwanang的地方。我很高兴,我也很高兴。我的父亲是戈雷·莫帕迪,我的母亲是蒂特拉加洛和采内莱洛,我的父亲和母亲是蒂里索·玛福科,我的妻子是卡甘胡特什韦,我的丈夫是波菲特哈。Patlisiso e,e leba ka moo padi Phitlheleo kwa Setlhoeng e agilweng le ka moo e tsamalanang le diponalo tse di farologaneng tsa padi gona。放弃tla tlhalosiwa go lebilwe ka moo ditiragalo的diponagalo ka gona。这是一个很好的例子,我是一个非常好的例子。这是一个很好的例子。帕迪,这是一个很好的选择,波戈洛和帕萨纳的裙子都是莫卡瓦纳的。如果我们必须去莫克瓦迪或克贡,那就去恩沙博克戈尼jwa gagwe裙下的patsana e,e na diponalo tsotlhe tse of agang padi。
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引用次数: 0
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South African Journal of African Languages
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