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28 April 2021 | Story Rulanzen Martin | Photo UFS Archive
The fact that Prof Naomi Morgan enjoyed reading the book herself, contributed to the successful translation process.

Fille à soldats is the French title of Dr Francois Smith’s book Kamphoer. The ground-breaking novel recently made its appearance on French bookshelves thanks to the translation skills of Prof Naomi Morgan from the Department of Afrikaans and Dutch, German and French at the University of the Free State (UFS). 

Any translation work is a difficult task to take on, but for Prof Morgan, Head of the Division of French at the UFS, translating Kamphoer into French was worthwhile. “The biggest advantage (of translation) is that more people can read the novel. Without translation, different cultures do not know each other,” said Prof Morgan.  The only way of knowing existing languages is through translation. 

This is the third translation of the novel. The first translation was into Dutch and the second into English. “I work mainly in the French-Afrikaans language pair and thought the French would be interested in this story,” Prof Morgan said. 

Kamphoer author bursting with pride 

Dr Francois Smith, a lecturer in the same department as Prof Morgan, has great appreciation for his colleague. “I am very grateful for the translation and also very proud of it. Someone who translates your book reads it with the greatest love and attention,” he said.  The first reviews published in France are full of praise. “It seems that Prof Morgan has succeeded in giving Kamphoer a new and powerful life in French.” 

Recently, Dr Smith was also named as the runner-up in the Great Novel Competition for his book Die getuienis.

 
Dr Francois Smith, author of the book Kamphoer. Photo: Mlungisi Louw 

Historical bond with the French

The historical connection with the French was another reason for translating Kamphoer, since they (the French) supported the Boer forces during the Anglo-Boer War. The storyline for Kamphoer is based on this war. “French readers like historical novels and history in general. Therefore, there would be a potential reading public,” Prof Morgan said.  

Her own love for the history of this war, her language skills, and the required background were the winning recipe for the skilful translation of the novel. “I enjoyed reading the novel – a requirement when you are working as a translator for months on a text,” she said. 

Translation not an easy process

The best and only French-Afrikaans dictionary dates from the 1950s. According to Prof Morgan, translation is a very difficult process, as translators and interpreters normally translate into their mother tongue and not the other way around.  “The translation process with any novel is handled by two publishers; in this case, Tafelberg (South Africa) and Actes Sud (France),” Prof Morgan said. The translator is appointed after that. Prof Morgan worked with Georges Lory, a well-known French translator who understands Afrikaans.

 With unique words and phrases in Afrikaans, it can be quite a struggle to translate from Afrikaans into French. Words that are inherent to a language and/or culture can be difficult to translate. “One of the challenges was also the fact that the main character, Susan Nell, at times quoted from the Dutch State Bible written in seventeenth-century Dutch. What do you do with this? Or with the Afrikaans onomatopoeia of bird sounds?” Prof Morgan explained. 
 
Future plans for more Afrikaans-French translations?

Future plans for the translation of other books into French unfortunately do not depend on Prof Morgan, because the contracts are concluded between publishers, and because Afrikaans novels are usually first translated into English. “Therefore, if translation errors occur in the English version, the French translator does not realise this,” Prof Morgan said. There are also only three French translators who can translate directly from Afrikaans.  

News Archive

Lecture focuses on how Marikana widows embody the transformative power of art
2015-08-11

Makopane Thelejane

"When I got the news of my husband is dead, I put my hands above my head, as you see me in this picture. I could not bear the ache in my heart." - Makopane Thelejane

A woman looks down on a canvas covered in thick layers of red, dark shadows falling across her face. A brief moment that captures the silently-devastating aftermath of the Marikana massacre that bled into the lives of 34 widows.

It is this silent trauma that was at the centre of the last instalment of the Vice-Chancellor’s Lecture Series for 2015. “These stories of the Marikana widows are important. It is these stories of silence that live behind the spectacular scenes of the violence,” Prof Pumla Gobodo-Madikizela, Senior Research Professor in Trauma, Forgiveness, and Reconciliation Studies at the University of the Free State (UFS) said at the event.

Panel
The lecture, which took place on Monday 27 July 2015 on the Bloemfontein Campus, took the form of a panel discussing the theme of “Speaking wounds: voices of Marikana widows through art and narrative”. The panel consisted of members from the Khulumani Support Group, including Dr Marjorie Jobson (National Director) and Judy Seidman (Sociologist and Graphic Artist), as well as Nomfundo Walaza, former CEO of the Desmond Tutu Peace Centre.

Betty Lomasontlo Gadlela

"Then this dark time came, a dark cloud over me. It made me to have an aching heart, which took me to hospital, from losing my loved one, my husband, in such a terrible manner. " - Betty Lomasontlo Gadlela

Trauma made visible
In a project initiated by Khulumani, the Marikana widows were encouraged to share their trauma through painting body maps – in which the widows depicted their own bodies immersed in their trauma – and narrating their personal stories. Throughout the workshops, the focus always remained on the women. As Siedman put it, “the power of this process is rooted in the participants. The statements of what the participants experienced is what’s important.”

Initially silenced and isolated, this group of women has now moved “into a space where they have become connected to each, and stand up for each other in the most powerful ways,” Dr Jobson said. “Our work is conceptualised in terms of giving visibility and voice to the people who know what it takes to change this country; to change this struggle.”

The transformative power of art and narrative
During her response, Walaza pointed out “how art and narrative can transform traumatic memory and become integrated in the survivors’ life story.” This gives individuals the opportunity, she said, “to step into a space of mutual listening and dialoguing in which people bond together.”

Co-hosted by Prof Gobodo-Madikizela and the UFS Institute for Reconciliation and Social Justice, the lecture series forms part of a five-year research project funded by the Andrew W. Mellon Foundation.

 

 

 

 

 

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