Gotowa bibliografia na temat „Zulu reader”

Through translation the target reader is exposed to other cultures. Translators, therefore, have to use the target language to convey the source text message to the target reader. There are various choices at their disposal as to how they wish to convey the source text message. They may choose to adopt the norms and conventions of the source text message, and therefore those of the source language and culture, or choose those of the target language. Commonly, adherence to the target language norms and conventions leads to a strategy in which the foreignness of both linguistic and cultural conventions is reduced. According to Venuti (1995) this is domestication. Since translations are rarely equivalent to the original, this article seeks to examine how Makhambeni uses Venuti‟s domestication as a translation strategy, with the purpose of rewriting the original to conform to functions instituted by the receiving system. The descriptive approach to translation, which advances the notion that translations are facts of the target culture, will be used to support the arguments presented in this article. It will be shown that, although Achebe has used a lot of Igbo expressions and cultural practices in his novel, Makhambeni has not translated any of the Igbo expressions and cultural practices into Zulu. Instead Makhambeni used Zulu linguistic and cultural expressions such as similes, metaphors, idioms, proverbs and of cultural substitutions to bring the Igbo culture closer to her audience. It will be concluded that through the use Zulu linguistic and cultural conventions Makhambeni has effectively minimised foreign culture and narrowed the gap between the foreign and target cultures. She has successfully naturalised the Igbo culture to make it conform more to what the Zulu reader is used to.

The nature and function of Zulu folklore in Die ding in die vuur by Riano ScheepersThis article is concerned with how and why Zulu folklore and oral narrative traditions are absorbed in the literature of the writer Riana Scheepers. Scheepers does not use Zulu culture in her work to make it part of the struggle genre. The question therefore arises: Why does Scheepers, a modern, even postmodern writer, make use of the prehistoric, ancient Zulu oral narrative tradition?As starting points for this article the following issues are explored: What is the nature of Zulu folklore and how has it been applied in the texts concerned? What is the function of Zulu folklore in Scheepers’ work?In the oral narrative tradition, the ugogo (grandmother) is the narrator of the story and she tells her stories to the listeners (mostly children) to educate them in a very entertaining way, but also to adjure many social evils, symbolized by a variety of characters, such as animals, monsters and tricksters. Riana Scheepers uses the ugogo to create a story within a story in front of the reader's eyes, in other words, she uses the ugogo to create metatextuality. By writing stories, Scheepers also edifies her readers in an entertaining manner and like the ugogo, she adjures many social evils like violence, poverty, chauvinism and racism. By transforming truth into fiction (fictionalization), she makes the harsh realities of life tolerable and in this way protects herself and her readers against the horrific realities of modern life.

IN MEMORIAM This piece is written in memory of my son Muhammad Zayd bin Bohorudin (1985-2017), advocate and solicitor, and alumnus of the Ahmad Ibrahim Kulliyyah of Laws (‘AIKOL)’, IIUM. He had served the Attorney-General’s Chambers and Zul Rafique and Partners (Advocates and Solicitors). He endeared himself to classmates, teachers and colleagues; and in his brief life fulfilled all his parents’ wishes for him including being chosen by his schoolteachers as a most avid reader of books in primary school. This article was conceived by Muhammad Zayd and I, as an object lesson on how Islamic teachings may be incorporated into the Civil law to improve its moral contents. To reduce the obsession with self; the Civil law which is made without taking moral teachings into account, particularly in modern commercial transactions. May all those who read this monograph be inspired by the overarching teaching of Islam to seek justice in all civil law formulations including the Housing Ministry-drafted sale and purchase agreement. Muhammad Zayd’s mother Jamilah Begum and I dedicate this monograph as sadaqa jariah. May Allah s.w.t forgive him and reward him with a place in jannah. Amin.

This research paper studies the wide use of the two verbs: “lç -” and “Ye-”. It studies those two verbs basing on the novel “Arafat ta ir Cocuk” by (Zulfu LIVAN ELI) and the novel “Hasret” by (Canan TAN) to identify the usages of the verb. The reason for choosing those two novels because the novelists are considered very famous writers in the present day. Their writings are read widely by readers. The novel “Arafat ta ir Cocuk”, that is considered the first literary work by (Zulfu LIVAN ELI), has been published in 1978. It received a wide interest in Turkey and all over the world. It has been published in Turkey for several times and translated into German and Persian as well. The novel has been turned to be a movie in the German and Swedish TV. They took in consideration that the text written in the novel represents daily conversation language with a simple style. As for (Canan TAN) and her novel “Hasret”, is considered one of the best-selling novels and this why we decide to choose it for this study. I want in this study to show the wide use of the two verbs “lç -” and “Ye-”. The research paper consists of main sections. The first one studies the verb “Ye-” and the second studies the verb “lç -”. The final section studies the two verbs together. The sections are divided within according to the features meaning and pattern and the formalistic and usage features. The classification has been indexed in sections according to alphabetical letters and in the end of any form I mentioned abbreviation of product and the form that is taken from. I identify these expressions that widely contain the two verbs “lç -” and “Ye-” with a bold style following the procedures of the book of (Zeynep Korkmaz) entitled (Turkish Language Grammar) and Turkish Language Grammar book by (Tahsin Banguoglu). In the conclusion I divided the classification as well as what have been identified in the usages of the two verbs, the subject of the study.

Abstract Who is allowed to occupy which space in a multicultural society? Whose worlds and perspectives are represented in the fictional space? In this article we investigate the answers to these questions by means of a narratological analysis, informed by insights from postcolonial and cultural theory, of the novel Dertig dagen (2015) by Annelies Verbeke. While Saskia Pieterse (2014) suggests that in many recent novels ‘the Other’ is often a flat character and merely the embodiment of the theme of multiculturalism, in Dertig dagen a Senegalese-born Fleming is the main focalizing character. Starting from an analysis of the narratological position he occupies in the novel, we will focus on what the reader sees through his eyes. Our attention is drawn to the representation of different physical and imagined spaces that are not equally accessible to everyone as well as to the discrepancy between inner worlds and the outside world. This discrepancy exposes the connection between fear and various forms of violence, between multiculturalism and happiness. Using Sara Ahmed’s theoretical assumptions ‐ from The Politics of Emotions (2004) and The Promise of Happiness (2010) ‐ and Alan Corkhill's conceptualization of Spaces for Happiness (2012), we analyse the violent effect ‐ in terms of dissemination and internalization ‐ of dominant norms in different spaces.

Feagan, Robert. Arctic Thunder: A Novel. Toronto: Dundurn Press, 2010. Print. St. Albert is a small city, just north of Edmonton in Central Alberta. In the opening pages of this book, thirteen-year-old Mike Watson and his team, the St. Albert Rams, win the Alberta Bantam Provincial box lacrosse championship. Then his father, an RCMP officer, announces that they’ve been posted to Inuvik, which Mike describes as a place “somewhere inside the Arctic Circle and makes winter in St. Albert seem like summer”. The author, Robert Feagan, who lives in St. Albert, but spent much of his youth in RCMP posts across the Canadian Western Arctic, does a good job of presenting the struggles of a thirteen year old boy from the South trying to fit into the largely Inuit and Dene community in Inuvik. The story is definitely told from the point of view of a “white kid from the South”, except that Mike is part Zulu, so he sort of looks like he might fit in. Mike finds that teenagers are teenagers everywhere and when he goes to school he meets: the bully, the nerd whom everyone avoids and the super athletes, who in this case compete in the Arctic Games. There is even a beautiful female nemesis, Gwen, who is one of the best basketball players Mike has every encountered. While well written and engaging, Feagan sometimes becomes a little didactic in educating the reader about the North. Characters occasionally launch into unnaturally detailed explanations about things northern. Much of the tension between characters is also resolved too neatly. Most of the core characters acquire self-understanding, turn over new leaves, and apologize to each other within a very few pages. Much more realistic is the portrayal of the typical teenager, Mike, whispering a “Thank-you” to his Mom, long after she’s out of earshot. Through the course of the book, Mike (and the reader) come to appreciate what Inuvik, with its single traffic light and one retail store, has to offer. Feagan works in a sensitive treatment of the role of the elders in the community and the healthy effects of living close to the land. Of course, lacrosse, which no one plays in Inuvik, is an important thread through the story. Adult readers should not be put off by the fact that this is a young adult novel; it is a good Arctic read for anyone. Highly recommended: 4 out of 4 starsReviewer: Sandy Campbell Sandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.

Introduction: From Trifle to Tiramisu Tiramisu is an Italian dessert cake, usually comprising sponge finger biscuits soaked in coffee and liquor, layered with a mixture of egg yolk, mascarpone and cream, and topped with sifted cocoa. Once a gourmet dish, tiramisu, which means “pick me up” in Italian (Volpi), is today very popular in Australia where it is available for purchase not only in restaurants and cafés, but also from fast food chains and supermarkets. Recipes abound in cookery books and magazines and online. It is certainly more widely available and written about in Australia than the once ubiquitous English trifle which, comprising variations on the theme of sherry soaked sponge cake, custard and cream, it closely resembles. It could be asserted that its strong coffee taste has enabled the tiramisu to triumph over the trifle in contemporary Australia, yet coffee is also a recurrent ingredient in cakes and icings in nineteenth and early twentieth century Australian cookbooks. Acknowledging that coffee consumption in Australia doubled during the years of the Second World War and maintained high rates of growth afterwards (Khamis; Adams), this article draws on examples of culinary writing during this period of increasing popularity to investigate the use of coffee in cookery as well as a beverage in these mid-twentieth century decades. In doing so, it engages with a lively scholarly discussion on what has driven this change—whether the American glamour and sophistication associated with coffee, post-war immigration from the Mediterranean and other parts of Europe, or the influence of the media and developments in technology (see, for discussion, Adams; Collins et al.; Khamis; Symons). Coffee in Australian Mid-century Epicurean Writing In Australian epicurean writing in the 1950s and 1960s, freshly brewed coffee is clearly identified as the beverage of choice for those with gourmet tastes. In 1952, The West Australian reported that Johnnie Walker, then president of the Sydney Gourmet Society had “sweated over an ordinary kitchen stove to give 12 Melbourne women a perfect meal” (“A Gourmet” 8). Walker prepared a menu comprising: savoury biscuits; pumpkin soup made with a beef, ham, and veal stock; duck braised with “26 ounces of dry red wine, a bottle and a half of curacao and orange juice;” Spanish fried rice; a “French lettuce salad with the Italian influence of garlic;” and, strawberries with strawberry brandy and whipped cream. He served sherry with the biscuits, red wine with the duck, champagne with the sweet, and coffee to finish. It is, however, the adjectives that matter here—that the sherry and wine were dry, not sweet, and the coffee was percolated and black, not instant and milky. Other examples of epicurean writing suggested that fresh coffee should also be unadulterated. In 1951, American food writer William Wallace Irwin who travelled to, and published in, Australia as “The Garrulous Gourmet,” wrote scathingly of the practice of adding chicory to coffee in France and elsewhere (104). This castigation of the French for their coffee was unusual, with most articles at this time praising Gallic gastronomy. Indicative of this is Nancy Cashmore’s travel article for Adelaide’s Advertiser in 1954. Titled “In Dordogne and Burgundy the Gourmet Will Find … A Gastronomic Paradise,” Cashmore details the purchasing, preparation, presentation, and, of course, consumption of excellent food and wine. Good coffee is an integral part of every meal and every day: “from these parts come exquisite pate de fois, truffles, delicious little cakes, conserved meats, wild mushrooms, walnuts and plums. … The day begins with new bread and coffee … nothing is imported, nothing is stale” (6). Memorable luncheons of “hors-d’oeuvre … a meat course, followed by a salad, cheese and possibly a sweet” (6) always ended with black coffee and sometimes a sugar lump soaked in liqueur. In Australian Wines and Food (AW&F), a quarterly epicurean magazine that was published from 1956 to 1960, coffee was regularly featured as a gourmet kitchen staple alongside wine and cheese. Articles on the history, growing, marketing, blending, roasting, purchase, and brewing of coffee during these years were accompanied with full-page advertisements for Bushell’s vacuum packed pure “roaster fresh” coffee, Robert Timms’s “Royal Special” blend for “coffee connoisseurs,” and the Masterfoods range of “superior” imported and locally produced foodstuffs, which included vacuum packed coffee alongside such items as paprika, bay leaves and canned asparagus. AW&F believed Australia’s growing coffee consumption the result of increased participation in quality dining experiences whether in restaurants, the “scores of colourful coffee shops opening their doors to a new generation” (“Coffee” 39) or at home. With regard to domestic coffee drinking, AW&F reported a revived interest in “the long neglected art of brewing good coffee in the home” (“Coffee” 39). Instructions given range from boiling in a pot to percolating and “expresso” (Bancroft 10; “Coffee” 37-9). Coffee was also mentioned in every issue as the only fitting ending to a fine meal, when port, other fortified wines or liqueurs usually accompanied a small demi-tasse of (strong) black coffee. Coffee was also identified as one of the locally produced speciality foods that were flown into the USA for a consulate dinner: “more than a ton of carefully selected foodstuffs was flown to New York by Qantas in three separate airlifts … beef fillet steaks, kangaroo tails, Sydney rock oysters, King prawns, crayfish tails, tropical fruits and passion fruit, New Guinea coffee, chocolates, muscatels and almonds” (“Australian” 16). It is noteworthy that tea is not profiled in the entire run of the magazine. A decade later, in the second half of the 1960s, the new Australian gourmet magazine Epicurean included a number of similar articles on coffee. In 1966 and 1969, celebrity chef and regular Epicurean columnist Graham Kerr also included an illustrated guide to making coffee in two of the books produced alongside his television series, The Graham Kerr Cookbook (125) and The Graham Kerr Cookbook by the Galloping Gourmet (266-67). These included advice to buy freshly roasted beans at least once a week and to invest in an electric coffee grinder. Kerr uses a glass percolator in each and makes an iced (milk) coffee based on double strength cooled brewed coffee. Entertaining with Margaret Fulton (1971) is the first Margaret Fulton cookery book to include detailed information on making coffee from ground beans at home. In this volume, which was clearly aimed at the gourmet-inclined end of the domestic market, Fulton, then cookery editor for popular magazine Woman’s Day, provides a morning coffee menu and proclaims that “Good hot coffee will never taste so good as it does at this time of the day” (90). With the stress on the “good,” Fulton, like Kerr, advises that beans be purchased and ground as they are needed or that only a small amounts of freshly ground coffee be obtained at one time. For Fulton, quality is clearly linked to price—“buy the best you can afford” (90)—but while advising that “Mocha coffee, which comes from Aden and Mocha, is generally considered the best” (90), she also concedes that consumers will “find by experience” (90) which blends they prefer. She includes detailed information on storage and preparation, noting that there are also “dozens of pieces of coffee making equipment to choose from” (90). Fulton includes instructions on how to make coffee for guests at a wedding breakfast or other large event, gently heating home sewn muslin bags filled with finely ground coffee in urns of barely boiling water (64). Alongside these instructions, Fulton also provides recipes for a sophisticated selection of coffee-flavoured desserts such as an iced coffee soufflé and coffee biscuits and meringues that would be perfect accompaniments to her brewed coffees. Cooking with Coffee A prominent and popular advocate of Continental and Asian cookery in Melbourne in the 1950s, Maria Kozslik Donovan wrote and illustrated five cookery books and had a successful international career as a food writer in the 1960s and 1970s. Maria Kozslik was Hungarian by birth and education and was also educated in the USA before marrying Patrick Donovan, an Australian, and migrating to Sydney with him in 1950. After a brief stay there and in Adelaide, they relocated to Melbourne in 1953 where she ran a cookery school and wrote for prominent daily newspaper The Age, penning hundreds of her weekly “Epicure’s Corner: Continental Recipes with Maria Kozslik” column from 1954 to 1961. Her groundbreaking Continental Cookery in Australia (1955) collects some 140 recipes, many of which would appear in her column—predominantly featuring French, Italian, Viennese, and Hungarian dishes, as well as some from the Middle East and the Balkans—each with an informative paragraph or two regarding European cooking and dining practices that set the recipes in context. Continental Cookery in Australia includes one recipe for Mocha Torte (162), which she translates as Coffee Cream Cake and identifies as “the favourite of the gay and party-loving Viennese … [in] the many cafés and sweet shops of Salzburg and Vienna” (162). In this recipe, a plain sponge is cut into four thin layers and filled and covered with a rich mocha cream custard made from egg yolks, sugar and a good measure of coffee, which, when cooled, is beaten into creamed butter. In her recipe for Mocha Cream, Donovan identifies the type of coffee to be used and its strength, specifying that “strong Mocha” be used, and pleading, “please, no essence!” She also suggests that the cake’s top can be decorated with shavings of the then quite exotic “coffee bean chocolate,” which she notes can be found at “most continental confectioners” (162), but which would have been difficult to obtain outside the main urban centres. Coffee also appears in her Café Frappe, where cooled strong black coffee is poured into iced-filled glasses, and dressed with a touch of sugar and whipped cream (165). For this recipe the only other direction that Donovan gives regarding coffee is to “prepare and cool” strong black coffee (165) but it is obvious—from her eschewing of other convenience foods throughout the volume—that she means freshly brewed ground coffee. In contrast, less adventurous cookery books paint a different picture of coffee use in the home at this time. Thus, the more concise Selected Continental Recipes for the Australian Home (1955) by the Australian-born Zelmear M. Deutsch—who, stating that upon marrying a Viennese husband, she became aware of “the fascinating ways of Continental Cuisine” (back cover)—includes three recipes that include coffee. Deutsch’s Mocha Creams (chocolate truffles with a hint of coffee) (76-77), almond meringues filled with coffee whipped cream (89-90), and Mocha Cream Filling comprising butter beaten with chocolate, vanilla, sugar, and coffee (95), all use “powdered” instant coffee, which is, moreover, used extremely sparingly. Her Almond Coffee Torte, for example, requires only half a teaspoon of powdered coffee to a quarter of a pint (300 mls) of cream, which is also sweetened with vanilla sugar (89-90). In contrast to the examples from Fulton and Donovan above (but in common with many cookbooks before and after) Deutsch uses the term “mocha” to describe a mix of coffee and chocolate, rather than to refer to a fine-quality coffee. The term itself is also used to describe a soft, rich brown color and, therefore, at times, the resulting hue of these dishes. The word itself is of late eighteenth century origin, and comes from the eponymous name of a Red Sea port from where coffee was shipped. While Selected Continental Recipes appears to be Deutsch’s first and only book, Anne Mason was a prolific food, wine and travel writer. Before migrating to England in 1958, she was well known in Australia as the presenter of a live weekly television program, Anne Mason’s Home-Tested Recipes, which aired from 1957. She also wrote a number of popular cookery books and had a long-standing weekly column in The Age. Her ‘Home-Tested Recipes’ feature published recipes contributed by readers, which she selected and tested. A number of these were collected in her Treasury of Australian Cookery, published in London in 1962, and included those influenced by “the country cooking of England […] Continental influence […] and oriental ideas” (11). Mason includes numerous recipes featuring coffee, but (as in Deutsch above) almost all are described as mocha-flavoured and listed as such in the detailed index. In Mason’s book, this mocha taste is, in fact, featured more frequently in sweet dishes than any of the other popular flavours (vanilla, honey, lemon, apple, banana, coconut, or passionfruit) except for chocolate. These mocha recipes include cakes: Chocolate-Mocha Refrigerator cake—plain sponge layered with a coffee-chocolate mousse (134), Mocha Gateau Ring—plain sponge and choux pastry puffs filled with cream or ice cream and thickly iced with mocha icing (136) and Mocha Nut Cake—a coffee and cocoa butter cake filled and iced with mocha icing and almonds (166). There are also recipes for Mocha Meringues—small coffee/cocoa-flavoured meringue rosettes joined together in pairs with whipped cream (168), a dessert Mocha Omelette featuring the addition of instant coffee and sugar to the eggs and which is filled with grated chocolate (181) and Mocha-Crunch Ice Cream—a coffee essence-scented ice cream with chocolate biscuit crumbs (144) that was also featured in an ice cream bombe layered with chocolate-rum and vanilla ice creams (152). Mason’s coffee recipes are also given prominence in the accompanying illustrations. Although the book contains only nine pages in full colour, the Mocha Gateau Ring is featured on both the cover and opposite the title page of the book and the Mocha Nut Cake is given an entire coloured page. The coffee component of Mason’s recipes is almost always sourced from either instant coffee (granules or powdered) or liquid coffee essence, however, while the cake for the Mocha Nut Cake uses instant coffee, its mocha icing and filling calls for “3 dessertspoons [of] hot black coffee” (167). The recipe does not, however, describe if this is made from instant, essence, or ground beans. The two other mocha icings both use instant coffee mixed with cocoa, icing sugar and hot water, while one also includes margarine for softness. The recipe for Mocha Cup (202) in the chapter for Children’s Party Fare (198-203), listed alongside clown-shaped biscuits and directions to decorate cakes with sweets, plastic spaceships and dolls, surprisingly comprises a sophisticated mix of grated dark chocolate melted in a pint of “hot black coffee” lightened with milk, sugar and vanilla essence, and topped with cream. There are no instructions for brewing or otherwise making fresh coffee in the volume. The Australian culinary masterwork of the 1960s, The Margaret Fulton Cookbook, which was published in 1968 and sold out its first (record) print run of 100,000 copies in record time, is still in print, with a revised 2004 edition bringing the number of copies sold to over 1.5 million (Brien). The first edition’s cake section of the book includes a Coffee Sponge sandwich using coffee essence in both the cake and its creamy filling and topping (166) and Iced Coffee Cakes that also use coffee essence in the cupcakes and instant coffee powder in the glacé icing (166). A Hazelnut Swiss Roll is filled with a coffee butter cream called Coffee Creme au Beurre, with instant coffee flavouring an egg custard which is beaten into creamed butter (167)—similar to Koszlik’s Mocha Cream but a little lighter, using milk instead of cream and fewer eggs. Fulton also includes an Austrian Chocolate Cake in her Continental Cakes section that uses “black coffee” in a mocha ganache that is used as a frosting (175), and her sweet hot coffee soufflé calls for “1/2 cup strong coffee” (36). Fulton also features a recipe for Irish Coffee—sweetened hot black coffee with (Irish) whiskey added, and cream floated on top (205). Nowhere is fresh or brewed coffee specified, and on the page dedicated to weights, measures, and oven temperatures, instant coffee powder appears on the list of commonly used ingredients alongside flour, sugar, icing sugar, golden syrup, and butter (242). American Influence While the influence of American habits such as supermarket shopping and fast food on Australian foodways is reported in many venues, recognition of its influence on Australian coffee culture is more muted (see, for exceptions, Khamis; Adams). Yet American modes of making and utilising coffee also influenced the Australian use of coffee, whether drunk as beverage or employed as a flavouring agent. In 1956, the Australian Women’s Weekly published a full colour Wade’s Cornflour advertorial of biscuit recipes under the banner, “Dione Lucas’s Manhattan Mochas: The New Coffee Cookie All America Loves, and Now It’s Here” (56). The use of the American “cookie” instead of the Australian “biscuit” is telling here, the popularity of all things American sure to ensure, the advert suggested, that the Mochas (coffee biscuits topped with chocolate icing) would be so popular as to be “More than a recipe—a craze” (56). This American influence can also been seen in cakes and other baked goods made specifically to serve with coffee, but not necessarily containing it. The recipe for Zulu Boys published in The Argus in 1945, a small chocolate and cinnamon cake with peanuts and cornflakes added, is a good example. Reported to “keep moist for some time,” these were “not too sweet, and are especially useful to serve with a glass of wine or a cup of black coffee” (Vesta Junior 9), the recipe a precursor to many in the 1950s and 1960s. Margaret Fulton includes a Spicy Coffee Cake in The Margaret Fulton Cookbook. This is similar to her Cinnamon Tea Cake in being an easy to mix cake topped with cinnamon sugar, but is more robust in flavour and texture with the addition of whole bran cereal, raisins and spices (163). Her “Morning Coffee” section in Entertaining with Margaret Fulton similarly includes a selection of quite strongly flavoured and substantially textured cakes and biscuits (90-92), while her recipes for Afternoon Tea are lighter and more delicate in taste and appearance (85-89). Concluding Remarks: Integration and Evolution, Not Revolution Trusted Tasmanian writer on all matters domestic, Marjorie Bligh, published six books on cookery, craft, home economics, and gardening, and produced four editions of her much-loved household manual under all three of her married names: Blackwell, Cooper and Bligh (Wood). The second edition of At Home with Marjorie Bligh: A Household Manual (published c.1965-71) provides more evidence of how, rather than jettisoning one form in favour of another, Australian housewives were adept at integrating both ground and other more instant forms of coffee into their culinary repertoires. She thus includes instructions on both how to efficiently clean a coffee percolator (percolating with a detergent and borax solution) (312) as well as how to make coffee essence at home by simmering one cup of ground coffee with three cups of water and one cup of sugar for one hour, straining and bottling (281). She also includes recipes for cakes, icings, and drinks that use both brewed and instant coffee as well as coffee essence. In Entertaining with Margaret Fulton, Fulton similarly allows consumer choice, urging that “If you like your coffee with a strong flavour, choose one to which a little chicory has been added” (90). Bligh’s volume similarly reveals how the path from trifle to tiramisu was meandering and one which added recipes to Australian foodways, rather than deleted them. Her recipe for Coffee Trifle has strong similarities to tiramisu, with sponge cake soaked in strong milk coffee and sherry layered with a rich custard made from butter, sugar, egg yolks, and black coffee, and then decorated with whipped cream, glace cherries, and walnuts (169). This recipe precedes published references to tiramisu as, although the origins of tiramisu are debated (Black), references to the dessert only began to appear in the 1980s, and there is no mention of the dish in such authoritative sources as Elizabeth David’s 1954 Italian Food, which features a number of traditional Italian coffee-based desserts including granita, ice cream and those made with cream cheese and rice. By the 1990s, however, respected Australian chef and food researcher, the late Mietta O’Donnell, wrote that if pizza was “the most travelled of Italian dishes, then tiramisu is the country’s most famous dessert” and, today, Australian home cooks are using the dish as a basis for a series of variations that even include replacing the coffee with fruit juices and other flavouring agents. Long-lived Australian coffee recipes are similarly being re-made in line with current taste and habits, with celebrated chef Neil Perry’s recent Simple Coffee and Cream Sponge Cake comprising a classic cream-filled vanilla sponge topped with an icing made with “strong espresso”. To “glam up” the cake, Perry suggests sprinkling the top with chocolate-covered roasted coffee beans—cycling back to Maria Koszlik’s “coffee bean chocolate” (162) and showing just how resilient good taste can be. Acknowledgements The research for this article was completed while I was the recipient of a Research Fellowship in the Special Collections at the William Angliss Institute (WAI) of TAFE in Melbourne, where I utilised their culinary collections. Thank you to the staff of the WAI Special Collections for their generous assistance, as well as to the Faculty of Arts, Business, Informatics and Education at Central Queensland University for supporting this research. Thank you to Jill Adams for her assistance with this article and for sharing her “Manhattan Mocha” file with me, and also to the peer reviewers for their generous and helpful feedback. All errors are, of course, my own.References “A Gourmet Makes a Perfect Meal.” The West Australian 4 Jul. 1952: 8.Adams, Jill. “Australia’s American Coffee Culture.” Australasian Journal of Popular Culture (2012): forthcoming. “Australian Wines Served at New York Dinner.” Australian Wines and Food 1.5 (1958): 16. Bancroft, P. 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In disseminating information about health issues, government health departments and NGOs use, inter alia, written health texts. In a country like South Africa, these texts are generally written by medical experts and thereafter translated into the languages of the people. One of these languages is Zulu, which is spoken by the majority of South Africans. A large percentage of Zulu speakers are illiterate or semi-literate, especially in the rural areas. For this reason, Zulu translators have to use ‘simple’ language that these readers would understand when translating English texts into Zulu. Translators are expected to use strategies that can deal with non-lexicalized, problematic or other related terms that appear in health texts, as well as geographical and cultural constraints. This study focuses on the strategies used by Zulu translators in an attempt to make translated Zulu health texts accessible to the target readership. The investigation includes the use of self-administered questionnaires for respondents from two of South Africa’s nine provinces, where Zulu speakers are found (Gauteng and KwaZulu-Natal), to determine whether the health texts do reach the target readership. Focus groups, semi-structured interviews and other complementary techniques were used to collect data from the selected respondents. Furthermore, a parallel concordance called ParaConc was used to extract and analyse data from the corpus as compiled for the present study, in an attempt to investigate the strategies used to make the translated health texts easier to read. The study uncovers various strategies which are used when translating English health texts into Zulu. These strategies include the use of loan words, paraphrasing, cultural terms and so on. In future, the use of ParaConc can be broadened to investigate newly discovered translation strategies, with the aim of making health texts more accessible to the target readers. Furthermore, this software programme can also be used to study translation strategies as used in other types of texts, for example journalistic texts.
Linguistics
D. Litt. et Phil. (Linguistics (Translation Studies))

This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu literary studies, this is an attempt to fill that void. This thesis provides some new insight into this concept, while also devising a practical method for the analysis of the radio trilogy. Chapter one outlines the aim of the study, scope of the study and the definition of some terms. This is followed by explaining the method of research and theories on radio serial dramas. There is also a discussion of the historical background in the development of Zulu radio serial drama and Ntuli's position and contribution to it. Finally, there is a review of previous research studies in Aincan Languages on radio drama. In chapter two plot structure of a radio trilogy is discussed. Theories of drama trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in detail. This is followed by an in-depth analysis of the plot structures of Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano. Chapter three deals with the characterization of radio trilogy. It distinguishes between the actors and characters. Different methods of character portrayal are investigated. Chapter four deals with perspectives on the theme of the radio trilogy. Types of themes are dealt with. Chapter five discusses the dialogue in radio trilogy. It deals with the differences between a dialogue, duologue and monologue, and explains the functions fulfilled by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic of the dramatic action is discussed. Chapter six concentrates on the style of radio trilogy. Elements and different types of styles are discussed. Kinds of images, figurative language, proverbs, idioms, biblical allusions and various influences are discussed in detail. Chapter seven concludes by summarizing the main finding ofthis study, and giving observations about the quality ofNtuli's contribution to radio drama trilogy. lt also explores some possibilities regarding future studies on Ntuli's radio trilogy.
African Languages
D. Lit. et Phil. (African Languages)

Master of Arts in Applied Language and Literacy Education, University of Witwatersrand, 2017
Recent studies maintain that the concept of a gender gap in literacy remains a large concern, as the gap between boys’ and girls’ reading literacy is reflected in studies conducted globally in which females consistently outperformed males. Therefore, this study discusses how perceptions about gender and reading practice are fabricated from a societal point of view. It presents the social cognitive theory of gender disparities in reading practices of grade 10 isiZulu First Additional language readers. Additionally, my study discusses how the readers with different language background and proficiency in isiZulu operate and respond when reading texts that are influenced by their own reading preferences. As a result, it identifies a variety of influences to be considered in gendered reading practices such as; the readers, the type of text, the activity, the language context, and the social and the cognitive aspects of reading practices. This qualitative research project investigated how six leaners of isiZulu First Additional grade 10 level, from various language backgrounds made meaning of informal texts over the course of four weeks. . Hence, I used a range of text types as a research tool in order to attend to this issue. To collect data, I therefore designed a series of questions through questionnaires, and observation schedule as means of authenticating the learners’ responses to institute the findings. Subsequently, by examining Barrett’s Taxonomy of reading comprehension, which focusses on cognitive and affective domains of reading, I conclude that reading is not only important for academic success, but also for negotiating our way through all aspects of life in an increasing bureaucratic society. Additionally, having background of reading literacy practices may grant chances of participation in the that society, as a result, those societal perceptions are likely to change if and when reading practices also grant chances to accommodate interests of the readers. Findings endorse that learners should be granted a chance of choosing texts that interest them so they can respond positively and accordingly, as, boys’ scores disagreed with previous research in a particular, comprehension component where they outscored the girls.
XL2018

Radikobo Ntsimane’s chapter is an examination of the intersection of food and death among the Tswana and Zulu peoples in South Africa, discussing the function of funerals in feeding the living, and the ways in which funerals can help socially and economically sustain a community. His analysis of the shift in the economic sustainability of funeral feasting in times of scarcity and widespread diseases such as AIDS in Africa is both valuable and important, providing a social and cultural critique that forces the reader to think about the function of funerals, and their effects on the community. In this chapter, the reader understands that the funeral attendants are dying to eat, both literally and figuratively.

This chapter examines the issue of learning Zulu in Sibusiso Nyembezi's novels. It first considers what Nyembezi tells us about the struggle over patrimony between fathers and sons and how it relates to learning Zulu before discussing Nyembezi's The Rich Man of Pietermaritzburg (1961) and Mntanami! Mntanami! (My Child! My Child!, 1950). It then reads Mntanami! Mntanami! in the light—or in the shadow—of Alan Paton's 1948 classic Cry, the Beloved Country, as well as Nyembezi's translation of the latter, entitled Lafa elihle kakhulu. In particular, it analyzes two scenes of language learning in Lafa elihle kakhulu and how the novel is connected to Learn More Zulu. Whereas both Lafa elihle kakhulu and Learn More Zulu exclude non-standard forms of Zulu, Mntanami! Mntanami! entertains non-standard forms of Fanagalo.