title: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám

authors: Roa, Hariru Te Aroha

subjects: Translation

abstract: Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

text: Translating Translations: A study of Ngā Rūpaiaha o Oma Kaiama, a Māori translation of the English version of the Rubáiyát of Omar Khayyám Omar Khayyám, a Persian poet who died in 1131, wrote a number of quatrains in Farsi which are regarded by some as representing the very summit of Sufism (that is, of the mystical dimension of Islamic thought) and by others as being essentially agnostic and hedonistic in nature. Those who are of the latter view are often strongly influenced by the ‘translation’ into English of some of these quatrains by Edward Fitzgerald, a British poet and writer whose first edition of the Rubáiyát of Omar Khayyám appeared in 1859, at the height of the Victorian era. Although there have been several other translations of Khayyám’s quatrains, none has been as popular or, perhaps, as highly regarded as an artistic work as that of Fitzgerald. It has rarely, however, been regarded as a work that is faithful to the intent of the original. In deciding to translate into Māori Fitzgerald’s rendering into English of some of Khayyám’s Farsi quatrains (5th version), Pei Jones was faced with a peculiarly complex set of problems (linguistic, literary, cultural and religious). Pei Jones’ translation, a translation of a translation, is generally regarded as being faithful to Fitzgerald’s version of the Rubáiyát. It would appear, therefore, that he decided to treat Fitzgeralds’s text, in spite of the reference in its title to the original text, as his source text. This gives rise to a number of questions, including questions about what it means for a translator to be faithful or unfaithful to a source text. With particular reference to Pei Jones’ translation of Fitzgerald’s Rubáiyát of Omar Khayyám, this thesis explores the concept of ‘fidelity’, a concept that, it is argued here (see Chapter 3), is often treated in the literature on translation in a way that belies its extremely complex nature. The thesis proposes a new approach to the concept of fidelity, one that is based on nine fidelity types: grammatical, lexical, informational, metrical, imagistic, rhetorical, historical, didactic and functional fidelity. In terms of this nonagonal analytical model, twenty-five of Pei Jones’ quatrains are analysed in relation to the equivalent quatrains in Fitzgerald’s version (Chapter 4). The analysis indicates that Pei Jones’ translation has neither metrical fidelity (a consequence of the very different nature of the source and target languages) nor functional fidelity (a consequence of the very different expectations and sensibilities that a Māori audience has in relation to the verbal arts). Metre and function are both, however, fundamental to the enduring appeal of Fitzgerald’s quatrains. The overall conclusion is that since it is often impossible to achieve all nine types of fidelity, translators need to carefully consider what their primary aim is in undertaking the translation of artistic works and be prepared to sacrifice certain types of fidelity (e.g. historical and informational fidelity) in order to create a work that fulfils the aesthetic expectations of the target audience. Pei Jones was undeniably successful in achieving those types of fidelity that were possible. However, the work may have had more widespread appeal if he had sacrificed some of them in order to create a work that was more closely aligned with the aesthetic expectations of Māori readers.

year: 2013

title: Materials for enhancing denitrification performance in partially saturated vertical flow wetlands for marae

authors: Liu, Lucian XiaoRan

abstract: There are upwards of 773 marae in New Zealand which are responsible for many key events for the indigenous people, Māori, many of which are located rurally and have inadequate on-site wastewater treatment mostly comprising of a septic tank followed by land application. Māori have many strong beliefs about water and subsequently criteria surround the treatment of wastewater due to the effects it can have on people and environment. One proposed solution that meets criteria are treatment wetlands, more specifically partially saturated vertical flow wetlands which require a smaller footprint and produce better effluent than traditional wetland designs. NIWA (National Institute of Water and Atmospheric Research) has experimented with mesocosm scale versions of this design and has encountered issues with denitrification in the saturated zone.

This research is therefore directed at enhancing denitrification in the saturated zone with materials that are able to supplement organic carbon for denitrification. Several woodchip materials (Eastern Cottonwood, Mahogany, Manuka, Eucalyptus, Crack Willow, Princess Tree and Pine) along with two industry by-product materials (Brewers Spent Grain and Slum gum) and Coir (Coconut derivative) were examined for denitrification capabilities and to serve in producing a leachate for dosing the proposed system to supplement organic carbon for denitrification.

The research is split into three phases; the first examines the ability of materials to release organic carbon into water over 60 days, the second examines the same but over three 10 day cycles, and the third quantifies denitrification performance of the materials at lab scale.

Results showed that producing a suitable leachate is not possible without the use of fresh material for each batch. By-product materials had great capacity for releasing organic carbon into water and denitrification (up to 85.5% nitrate removal) but had limited lifespans as media. While woodchip materials did not exhibit as great carbon release, they achieved comparable denitrification (74.2-74.5% nitrate removal) with long lifespans. Therefore, a woodchip and industry by-product mix could be the solution. Alternatively, there are many woodchip species, some which could have better denitrification capacity or suitable industry by-products with longer useful lifespans.

text: Materials for enhancing denitrification performance in partially saturated vertical flow wetlands for marae There are upwards of 773 marae in New Zealand which are responsible for many key events for the indigenous people, Māori, many of which are located rurally and have inadequate on-site wastewater treatment mostly comprising of a septic tank followed by land application. Māori have many strong beliefs about water and subsequently criteria surround the treatment of wastewater due to the effects it can have on people and environment. One proposed solution that meets criteria are treatment wetlands, more specifically partially saturated vertical flow wetlands which require a smaller footprint and produce better effluent than traditional wetland designs. NIWA (National Institute of Water and Atmospheric Research) has experimented with mesocosm scale versions of this design and has encountered issues with denitrification in the saturated zone.

This research is therefore directed at enhancing denitrification in the saturated zone with materials that are able to supplement organic carbon for denitrification. Several woodchip materials (Eastern Cottonwood, Mahogany, Manuka, Eucalyptus, Crack Willow, Princess Tree and Pine) along with two industry by-product materials (Brewers Spent Grain and Slum gum) and Coir (Coconut derivative) were examined for denitrification capabilities and to serve in producing a leachate for dosing the proposed system to supplement organic carbon for denitrification.

The research is split into three phases; the first examines the ability of materials to release organic carbon into water over 60 days, the second examines the same but over three 10 day cycles, and the third quantifies denitrification performance of the materials at lab scale.

Results showed that producing a suitable leachate is not possible without the use of fresh material for each batch. By-product materials had great capacity for releasing organic carbon into water and denitrification (up to 85.5% nitrate removal) but had limited lifespans as media. While woodchip materials did not exhibit as great carbon release, they achieved comparable denitrification (74.2-74.5% nitrate removal) with long lifespans. Therefore, a woodchip and industry by-product mix could be the solution. Alternatively, there are many woodchip species, some which could have better denitrification capacity or suitable industry by-products with longer useful lifespans.

year: 2023

title: 'His great heart remained behind': Constructions of Identity in Alistair MacLeod's Fiction

authors: Hill, Freya

subjects: nova scotia

abstract: Alistair MacLeod’s short stories and novel (No Great Mischief) are widely read and critically praised. His writing focuses on the lives of the people of 20th century Cape Breton Island, Nova Scotia, and many of his characters are of Scottish descendent. He writes of the Island’s miners, fishermen and farmers, as well as the younger generation who increasingly leave their island homeland to pursue higher education and greater job opportunities. As a result of this out-migration, much of MacLeod’s work mourns the passing of the Island’s traditional, rural culture. MacLeod’s writing combines detailed and compelling physical description with metaphor and symbolism. This thesis looks at the ways in which the identity of the Islanders is constructed in MacLeod’s work; and how the myths of the Islanders’ minds collide with the physical reality of their lives. The four main themes that are analysed in the thesis are: Scotland, Journeys, Animals, and Death. Scotland is depicted as both a physical location, and a mythical ‘homeland’, synonymous with the exile and victimisation associated with the Scottish Diaspora. The Islanders’ lives are defined by the journeys they make to and from the Island. The modes of transport that enable these journeys are explored, including boats, cars and aeroplanes. Physical journeys often support the emotional journeys of the characters. ‘Horse and Hound’, the chapter on animals, provides a unique analysis of MacLeod’s depiction of the human-animal relationship (seen especially with horses and dogs), and animal symbolism. The deaths and ill treatment of whales, bulls and dogs are linked to the demise of the Island’s traditional culture. Violent and premature deaths occur in many of MacLeod’s works. This thesis discusses how a dead body is both a symbol of a life lost, but also a physical object which the families must deal with in their isolated island locations.

text: 'His great heart remained behind': Constructions of Identity in Alistair MacLeod's Fiction Alistair MacLeod’s short stories and novel (No Great Mischief) are widely read and critically praised. His writing focuses on the lives of the people of 20th century Cape Breton Island, Nova Scotia, and many of his characters are of Scottish descendent. He writes of the Island’s miners, fishermen and farmers, as well as the younger generation who increasingly leave their island homeland to pursue higher education and greater job opportunities. As a result of this out-migration, much of MacLeod’s work mourns the passing of the Island’s traditional, rural culture. MacLeod’s writing combines detailed and compelling physical description with metaphor and symbolism. This thesis looks at the ways in which the identity of the Islanders is constructed in MacLeod’s work; and how the myths of the Islanders’ minds collide with the physical reality of their lives. The four main themes that are analysed in the thesis are: Scotland, Journeys, Animals, and Death. Scotland is depicted as both a physical location, and a mythical ‘homeland’, synonymous with the exile and victimisation associated with the Scottish Diaspora. The Islanders’ lives are defined by the journeys they make to and from the Island. The modes of transport that enable these journeys are explored, including boats, cars and aeroplanes. Physical journeys often support the emotional journeys of the characters. ‘Horse and Hound’, the chapter on animals, provides a unique analysis of MacLeod’s depiction of the human-animal relationship (seen especially with horses and dogs), and animal symbolism. The deaths and ill treatment of whales, bulls and dogs are linked to the demise of the Island’s traditional culture. Violent and premature deaths occur in many of MacLeod’s works. This thesis discusses how a dead body is both a symbol of a life lost, but also a physical object which the families must deal with in their isolated island locations.

year: 2011