Récit colonial allemand sur la région du Cross-river au Cameroun : pluri-référentialité, collection des savoirs ethnologiques et relations interculturelles – le cas de Urwald-Dokumente: Vier Jahre unter den Crossflussnegern Kameruns d’Alfred Mansfeld

On the basis of the colonial narrative of Alfred Mansfeld, the present article shows how the narrator manages to convey his knowledge about Cameroon’s Cross-river region. German colonial literature played a very active part in the media campaign for the dissemination of information about the colonies. Therefore, the colonial space became an object of interest (as a source of knowledge) for colonial writers. The presented intercultural reading makes it possible to outline the different visions of cultural contact that existed between the colonizer and the natives.

THE URDUNIZATION OF ENGLISH LANGUAGE: A CONTENT ANALYSIS OF THREE SHORT STORIES FORM SHORT STORY COLLECTION, “IN OTHER ROOMS, OTHER WONDERS”

This paper investigates the use of Urdu words by Post-colonial writer Daniyal Muneenuddin in his short stories. A content analysis of four short stories from the short stories collection “In other rooms, Other wonders”, published by Random House Group Limited, UK, has been conducted carefully. The three short stories are “NAWABDIN ELECTRICIAN”, “SALEEMA”, and “IN OTHER ROOMS, IN OTHER WONDERS”. The current research answer many questions like why have English words are replaced with Urdu Word in English short stories? Is the English Language is failed to convey contextual meanings? The frequency of Urdu words in the written discourse of short stories indicates the Multilingualism phenomenon in given texts. The analysis also highlights the emerging trends in Pakistani English writings and language mixing as multilingualism in written text. The post-colonial literature written by Pakistani writers provides a clue of the emergence of Pakistani English, and the use of Urdu words in Pakistani English variety anticipates its different forms and functions in written discourse.

Wāhine: antologia annotata di poetesse neozelandesi contemporanee in traduzione italiana

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>

Wāhine: antologia annotata di poetesse neozelandesi contemporanee in traduzione italiana

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>

Op de raaklijn tussen het historische en literaire. Het Vlaamse koloniale proza tot 1960 toegelicht door Luc Renders

Publications on Dutch literature about the Belgian Congo that have appeared to date are fragmentary and scattered across scholarly as well as cultural journals, collected volumes, and conference proceedings. There are practically no comprehensive studies on the history of Flemish colonial literature. Koloniseren om te beschaven. Het Nederlandstalige Congoproza van 1596 tot 1960, a recently released book by Luc Renders, aspires to redress this gap in research. Renders’ book can be considered the first as wide-ranging and detailed literary-historical exploration of pre-1960 colonial literature, which is presented against an extensive historical background. Crucially, Renders not only compiles the existing research on colonial writings in Dutch, but also contributes to it in an important way.

White Blotches on Brown Skin: A Post-colonial Critique of "The Writing on My Forehead"

The formal colonial rule of Britain ended seven decades ago but the experience deeply influenced the minds of the masses and altered their lives and psyche for a long time to come. Post-colonial issues such as loss of identity, hybridity, otherness, appropriation, etc are frequently highlighted by the Anglophone writers of the sub-continent. The authors of Pakistani descent have contributed remarkably to post-colonial literature. The present research aims to analyze Nafisa Haji’s novel The Writing on My Forehead (2009) to investigate the Western influence on the minds and behaviors of the people of the subcontinent. Homi K. Bhabha's analytical lens (1994) is the primary guide for this research. Three elements of hybridity, namely mimicry, ambivalence, and unhomeliness, as proposed by Bhabha are explored. The concepts of diaspora and othering in the work under discussion are also briefly touched. This research is qualitative and descriptive in nature. The results of the detailed textual analysis indicate that various characters are hybrids of East and West. The phenomena of ambivalence and mimicry can be clearly observed in their conduct and thinking. The most important characters in this regard are Saira, Adeeba (also known as Big Nanima), and Kasim who openly mimic the Western culture. Minor characters like Adeeba’s parents and Shabana, though averse to Western culture at the surface level, are unconsciously influenced by it. The phenomena of othering, diaspora, and unhomeliness are also briefly touched. In this way, the present study sheds light on the impact of colonialism on the lives of colonial subjects and links it with the continued hegemony of the West over the Easterners. It will be helpful for students, teachers and researchers who wish to study Haji’s fiction and the impact of the phenomenon of colonialism.

Diversity of Genre in Post-Colonial Literature

The main aim of this article is to outline main tendencies in the development of post-colonial literature in the face of Jean Rhys and her novel Wide Sargasso Sea as a vivid example of starting attempt to break a white-domineering view of Asian countries and build up a new identity. Research attempts to refer to a wider scope of literary texts, including the ones that outline issues and problems related to the so-called invasion narratives. The term invasion narratives is seen as referring to a number of different texts, including English Patient by Michael Ondaatje or the Reader by Bernhard Schlink. One of numerous possibilities of analyzing post-colonial literature is the analysis of the novels by Zadie Smith White Teeth and on Beauty, the latter being a good example of a return to realism and actualizing what is called coined as the meanwhile. Special attention is given to meta-modernism and its function on the contemporary cultural and literary scene, above all with its attempt to start a neo-romantic direct kind of prose, or verse, simple in its form, yet aiming to construct new identities. This kind of prose incorporates the narratives exploring different traumas, including trans-generational traumas.

The Double Mistaken Identity of Colonial Literature

Although postcolonial approaches in world literature and translation studies have produced much necessary scholarship, they have in general disregarded the historical ‘native’ author and translator working in colonial or semicolonial settings. Studies on Urdu literature in the 19th century, for instance, focus mostly on the role of British Orientalists. Drawing upon Allen’s trans-indigenous project, I propose to read the historical ‘native’ text approaching it with a concept drawn from Amerindian ethnohistory: ‘double mistaken identity’ (DMI). While ‘native’ intellectuals might have unwittingly contributed to furthering the cause of Western colonialists, DMI allows for two perspectives to coexist in the ‘native’ text, one of which is a ‘native’, non-hybrid perspective. I take the failed colonial project in 16th-century Japan as a model, focusing on a translation that both Urdu and Japanese intellectuals undertook: that of Aesop’s Fables. There is a case for considering ‘native’ literature fully colonial, fully ‘native’, and fully global.