Article Sidebar
Published:
Aug 13, 2021Keywords:
Article Details
The author(s) retain copyright on work published by AOSIS unless specified otherwise.
Licensing and publishing rights
Author(s) of work published by AOSIS are required to grant AOSIS the unlimited rights to publish the definitive work in any format, language and medium, for any lawful purpose. AOSIS requires journal authors to publish their work in open access under the Creative Commons Attribution 4.0 International (CC BY 4.0) licence.
Read more here: http://creativecommons.org/licenses/by/4.0/.
The authors retain the non-exclusive right to do anything they wish with the published article(s), provided attribution is given to the applicable journal with details of the original publication, as set out in the official citation of the article published in the journal. The retained right specifically includes the right to post the article on the authors’ or their institution’s websites or in institutional repositories.
Previously published work may have been published under a different licence. We advise the community that if they would like to reuse the work to consult the applicable licence at article level.
Main Article Content
Te Deum Laudamus – Grosser Gott, wir loben dich. ’n Ondersoek na vertalings in Afrikaans
Elsabé Kloppers
Abstract
Te Deum Laudamus – Grosser Gott, wir loben dich. A discussion of translations in Afrikaans. The German hymn ‘Grosser Gott, wir loben dich’, written by the Catholic priest, Ignaz Franz (1719–1790), is based on the ‘Te Deum’, one of the oldest hymns in the Christian tradition. The ‘Te Deum’ and the original German text of ‘Großer Gott’ are discussed and a short overview of the reception of the text is given. It is followed by a discussion of translations into Afrikaans: a text in a Lutheran hymnal, the two versions included in the second official hymnal of the Dutch Reformed Churches in South Africa (1978), and another version, also included in the current (third) official hymnal, Liedboek van die Kerk (2001). Theological and hymnological aspects, as well as connections and similarities with the ‘Te Deum’ and the original text in German are investigated.
Contribution: The background and reception history of the hymn Grosser Gott, wir loben dich are given, and various translations into Afrikaans are discussed with regard to differences and similarities to the original text. It is shown that changes to texts could contribute to hymns being used to promote strange issues.
