Dissertationen zum Thema „Folk literature. Southern African“
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Strain, Catherine Benson. „Folk Medicine in Southern Appalachian Fiction“. Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etd/720.
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The region of Southern Appalachia, long known for its colorful storytellers, is also rich in folk medical lore and practice. In their Appalachian novels, Lucy Furman, Emma Bell Miles, Mildred Haun, Catherine Marshall, Harriette Arnow, Lee Smith, and Charles Frazier, feature folk medicine prominently in their narratives. The novels studied, set against the backdrop of the rise of official medicine, are divided into three major time periods that correspond to important chapters in the history of American medicine: the 1890s through the 1930s; the 1940s through the 1960s; and the 1970s through the present. The study of folk medicine, a sub-specialty of the academic discipline of folklore, gains significance with the current rise in distrust of official medicine and a return to medical folkways of our past. The authors studied here have performed an ethnological role in collecting and preserving with great care and authenticity many of the Appalachian regionÆs folk medical beliefs and practices.
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Bailey, Ebony Lynne. „Re(Making) the Folk: The Folk in Early African American Folklore Studies and Postbellum, Pre-Harlem Literature“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594919307993345.
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Stannard, James. „The influence and subversion of the Southern folk tradition in the novels of William Faulkner“. Thesis, University of Essex, 2015. http://repository.essex.ac.uk/15250/.
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I argue that the Southern folk tradition is William Faulkner’s strongest influence. Faulkner experienced both a black and white folk culture in childhood through his Aunt Alabama and his nurse, Caroline Barr. I cover many of Faulkner’s ‘Modernist’ novels but examine their folk and vernacular elements, such as Jason Compson’s vernacular consciousness, the storytelling in Absalom, Absalom! or the trickster figure in the Snopes novels. I will be using Ed Piacentino’s The Enduring Legacy of Old Southwest Humor for secondary research and Mikhail Bakhtin’s The Dialogic Imagination and Rabelais and his World to provide a theoretical framework regarding the text as an interaction of competing discourses, and the ‘grotesque.’ I examine several writers to provide a folk ‘context.’ Augustus Baldwin Longstreet’s ‘The Horse-Swap’ uses vernacular traders, but a refined observer passes judgment on their actions. George Washington Harris brings vernacular culture to the forefront. Mark Twain’s The Adventures of Huckleberry Finn is an entire novel written in folk speech which invests the folk narrator with a conscience. I argue Faulkner also bestows his writing with folk morality, such as V.K. Ratliff’s stand against the rapacity of Flem Snopes. I also examine the conjure tales of Charles Chesnutt. Uncle Julius exemplifies black folk wisdom being used to outsmart the white northerners, demonstrating how many use folk culture to further their own ends. The third chapter examines the grotesque, through an examination of Harris, Chesnutt and Erskine Caldwell, along with Faulkner, and Bakhtin and Rabelais’ discussion of the ‘physical’ and ‘psychological’ grotesque, the damage caused by mental illness or obsession with the past. I examine how the psychological state manifests in the physical in Faulkner’s writing, and how he humanises those society deems ‘grotesque’ through psychological insight, emphasising the cruelty in simply regarding such beings as ‘spectacle.
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Bosch, Stephanie. „Forms of Affiliation: Nationalism, Pan-Africanism, and Globalism in Southern African Literary Media“. Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465321.
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Forms of Affiliation maps new literary geographies that cut across national, postcolonial, local, and global frameworks. Focusing on fiction from the 1950s to the present-day from South Africa, Malawi, Zambia, and Zimbabwe, it demonstrates how writers from these nations have developed new genres of fiction in popular media to imagine changing modes of interconnection across space. Popular media—including newspapers, magazines, and their digital iterations—are vital literary outlets in southern Africa and often the only means for underrepresented populations to find a voice in public discourse. Crucially, many of the genres in these publications do not fit neatly into European literary categories. They also envision Africanness and blackness within a variety of overlapping spatial scales, from the township to the diaspora, thus challenging the common conception of southern African literatures as tied primarily to nationalist projects. Through the analysis and translation of hundreds of stories from publications such as African Parade, Africa!, the Malawi News, and the Chimurenga Chronic, I identify four generic categories of southern African fiction: “migrant forms,” “township tales,” “newspaper short stories,” and “literary time-machines.” Across its chapters, Forms of Affiliation shows how these genres make visible combinations of form, meaning, and geography that are obscured by traditional literary categories.African and African American Studies
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Talahite, Anissa. „Race and gender in the novels of four contemporary southern African women authors“. Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277905.
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Pentolfe-Aegerter, Lindsay Alexandra. „"You have met the woman; you have struck the rock" : Southern African women's writing as resistance /“. Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9526.
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Horrell, Georgina Ann. „White women in the midday sun : white women and white guilt in southern African postcolonial literature“. Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613320.
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Stamper, Randall Lawrence. „Gonna Spread the News all Around: Early, African-American Popular Song as Spoken Newspaper“. VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.
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Mpolweni, Nosisi Lynette. „The orality - literacy debate with special reference to selected work of S.E.K. Mqhayi“. Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.
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Dowling, Tessa. „The forms, functions and techniques of Xhosa humour“. Doctoral thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/17456.
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Bibliography: pages 259-274.In this thesis I examine the way in which Xhosa speakers create humour, what forms (e.g. satire, irony, punning, parody) they favour in both oral and textual literature, and the genres in which these forms are delivered and executed. The functions of Xhosa humour, both during and after apartheid, are examined, as is its role in challenging, contesting and reaffirming traditional notions of society and culture. The particular techniques Xhosa comedians and comic writers use in order to elicit humour are explored with specific reference to the way in which the phonological complexity of this language is exploited for humorous effect. Oral literature sources include collections of praise poems, folktales and proverbs, while anecdotal humour is drawn from recent interviews conducted with domestic workers. My analysis of humour in literary texts initially focuses on the classic works of G.B. Sinxo and S.M. Burns-Ncamashe, and then goes on to refer to contemporary works such as those of P.T. Mtuze. The study on the techniques of Xhosa humour uses as its theoretical base Walter Nash's The language of humour (1985), while that on the functions of Xhosa humour owes much to the work of sociologists such as Michael Mulkay and Chris Powell and George E.C. Paton. The study reveals the fact that Xhosa oral humour is personal and playful - at times obscene - but can also be critical. In texts it explores the comedy of characters as well as the irony of socio-political realities. In both oral and textual discourses the phonology, morphology, syntax and semantics of Xhosa are exploited to create a humour which is richly patterned and finely crafted. In South Africa humour often served to liberate people from the oppressive atmosphere of apartheid. At the same time humour has always had a stabilizing role in Xhosa cultural life, providing a means of controlling deviants and misfits.
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Mostert, Andre. „Developing a systematic model for the capturing and use of African oral poetry: the Bongani Sitole experience“. Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002154.
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Oral traditions and oral literature have long contributed to human communication. The advent of arguably the most important technology, the written word, altered human ability to create and develop. However, this development for all its potential and scope created one of the most insidious dichotomies. As the written word developed so too the oral word became devalued and pushed to the fringes of societal development. One of the unfortunate outcomes has been a focus on the nomenclatures associated with orality and oral tradition, which although of importance, has skewed where the focus could and should have been located, namely, how to support and maintain the oral word and its innate value to human society in the face of what has become rampant technological developments. It is now ironic that technology is creating a fecund environment for a rebirth of orality. The study aims to mobilize technauriture as a paradigm in order to further embed orality and oral traditions to coherently embrace this changing technological environment. The central tenet of the study is that in order to enhance the status of orality the innate value embodied in indigenous knowledge systems must be recognized. Using the work of Bongani Sitole, an oral poet, as a backdrop the study will demonstrate a basic model that can act as a foundation for the effective integration of orality into contemporary structures. This is based on work that I published in the Journal of African Contemporary Studies (2009). Given the obvious multi-disciplinary nature of the material the work covers a wide cross section of the debate, from questions of epistemology and knowledge in general in terms of oral traditions, through the consciousness and technical landscapes, via the experience with Sitole’s material to issues of copyright and ownership. This work has also been submitted for publication together with my supervisor as a co-author. The study intends to consolidate the technauriture debate and lay a solid foundation to support further study.
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Mpola, Mavis Noluthando. „An analysis of oral literary music texts in isiXhosa“. Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.
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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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Eastvold, Jared. „An examination of works for band : Southern folk rhapsody, arranged by Michael Sweeney, On a hymnsong of Philip Bliss, arranged by David Holsinger, Music from wicked, arranged by Michael Sweeney, Whispers of the wind, by David Shaffer“. Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/340.
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Lower, Jonathan Scott. „The American Blues: Men, Myths, and Motifs“. Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1340154289.
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Slaven, Craig D. „Southern Transfiguration: Competing Cultural Narratives of (Ec)centric Religion in the Works of Faulkner, O’Connor, and Hurston“. UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/31.
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This project explores the ways in which key literary texts reproduce, undermine, or otherwise engage with cultural narratives of the so-called Bible Belt. Noting that the evangelicalism that dominated the South by the turn of the twentieth century was, for much of the antebellum period, a relatively marginal and sometimes subversive movement in a comparatively irreligious region, I argue that widely disseminated images and narratives instilled a false sense of nostalgia for an incomplete version of the South’s religious heritage. My introductory chapter demonstrates how the South’s commemorated “Old Time” religion was not especially old, and how this modernist construct of an idealized past helped galvanize Southern evangelicalism into a religion that more readily accommodated racial hegemony in the present. The following three chapters examine Faulkner’s Light in August, O’Connor’s Wise Blood, and Hurston’s Jonah’s Gourd Vine and Moses, Man of the Mountain. I find that each of these novels embeds traces of forgotten religious dissidence. The modern nostalgia for a purer old-time religion, my readings suggest, says less about the history of religion in the South than it does about New-South efforts to merge evangelical and “Southern” values, thereby suppressing any residual opposition between them.
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Lucy, Robin Jane. „"Now is the time! Here is the place" : World War II and the black folk in the writings of Ralph Ellison, Chester Himes and Ann Petry /“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0035/NQ66221.pdf.
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Bryant, Cheney Matt. „Modern Charity: Morality, Politics, and Mid-Twentieth Century US Writing“. UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/101.
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Scholars over the past two decades (Denning, Szalay, Edmunds, Robbins) have theorized the different ways literature of the Mid-Twentieth Century reflects the dawn of the liberal US welfare state. While these studies elaborate on the effect rapidly expanding public aid had on literary production of the period, many have tended to undervalue the lingering influence on midcentury storytelling of private charity and philanthropy, those traditional aid institutions fundamentally challenged by the Great Depression and historically championed by conservatives. If the welfare state had an indelible impact on US literatures, so did the moral complexity of the systems of charity and philanthropy it purportedly replaced. In my dissertation, I theorize modern charity as a cultural narrative that found expression in a number of different writers from the start of the Great Depression and into the early 1960s, including Harold Gray, Ralph Ellison, W.E.B. Du Bois, Flannery O'Connor, and Dorothy Day.
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Bokoda, Alfred Telelé. „The poetry of David Livingstone Phakamile Yali-Manisi“. Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.
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Bibliography: pages 217-232.Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
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Kongs, Veronica Louise. „Graduate band conducting recital : lesson plans and theoretical/historical analysis of literature“. Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/365.
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Huguley, Piper Gian. „Why Tell the Truth When a Lie Will Do?: Re-Creations and Resistance in the Self-Authored Life Writing of Five American Women Fiction Writers“. unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04252006-174728/.
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Thesis (Ph. D.)--Georgia State University, 2006.Title from title screen. Audrey Goodman, committee chair; Thomas L. McHaney, Elizabeth West, committee members. Electronic text (253 p.) : digital, PDF file. Description based on contents viewed May15, 2007. Includes bibliographical references (243-253).
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Hills, Crystal Margie. „Wees Gonna Tell It Like We Know It Tuh Be: Coded Language in the Works of Julia Peterkin and Gloria Naylor“. unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-08152008-071048/.
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Thesis (M.A.)--Georgia State University, 2008.Title from file title page. Carol Marsh-Lockett , committee chair; Mary Zeigler, Kameelah Martin Samuel, committee members. Electronic text (99 p.) : digital, PDF file. Description based on contents viewed Nov. 19, 2008. Includes bibliographical references (p. 96-99).
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Kaschula, Russell H. „Imbongi and griot: toward a comparative analysis of oral poetics in Southern and West Africa“. 1999. http://hdl.handle.net/10962/59379.
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This article takes up the challenge of comparative research in Africa by analysing and comparing the oral art of West African griots and Southern African iimbongi or oral poets. Similarities and differences between these performers and their respective societies are highlighted through the use of an ethnographic methodology. A distinction is drawn between the more traditional performers such as Thiam Anchou and D.L.P. Yali-Manisi, and the more modern performers such as M’Bana Diop, Bongani Sitole and Zolani Mkiva. The rich use of genealogy and history in the more traditional performances is highlighted. In comparing the work of the more contemporary, urban poets such as M’bana Diop of Senegal and Zolani Mkiva from Southern Africa, similarities are found in their performances on post-independence leaders such as Senghor and Mandela. Political pressures which have been brought to bear on the performer are also discussed. This article explores the continuity between the past and the present in relation to aspects such as the following: how performers gain recognition, their continued survival, their relationship with politics and religion, the orality- literacy debate, and the stylistic techniques used by these performers. Wherever possible, examples of performers and their work are provided.
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Johnson, Simone Lisa. „Defining the migrant experience : an analysis of the poetry and performance of a contemporary southern African genre“. Thesis, 2001. http://hdl.handle.net/10413/3014.
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This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant
performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of
oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls
upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural
space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a
different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
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Mitras, João Luís Rafael. „The image of American in southern african literature“. Master's thesis, 2006. http://hdl.handle.net/10400.2/530.
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Dissertação de Mestrado em Estudos Americanos apresentada à Universidade AbertaAbstract - This dissertation is an attempt to trace and explain the image of ‘America’ in the Southern African literature from a psychoanalytic — and, more specifically, from a Lacanian — perspective. The paper argues that whereas in the works from the 1950s there was a wholly positive imaginary identification with the African American other, with its music, its political struggles, its achievements in the sports arena, in later works there is a symbolic renunciation of all things American. It is argued that these shifts in identification were also a response to the political events taking place both in the United States and in the region.
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Wolpert, Stacey. „The responses of contemporary South African children to threshold experiences in Grimm fairy tales and African folk tales“. Thesis, 2008. http://hdl.handle.net/10539/5711.
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This study investigates the responses of contemporary South African, Grade one children to threshold experiences in Grimm fairy tales and African Zulu folk tales. Thresholds involve an exciting or challenging experience, or a transformation in stories. Three stories from each genre were read over six sessions, to ten diverse black and white children, from one school. The children’s enjoyment was assessed, with focus on their backgrounds and previous knowledge, to help find beneficial reading for them. Results suggested that while gender of characters and story origins did not seem important, story length, humour, entertainment and educational ability, as well as personal involvement, were useful. The study supported the notion that stories are generally universal and could help bridge our cultural divide. Reader-Response theory was used and its principles helped to structure questions for the interviews, and to analyse data. Hopefully, the findings will help to select appropriate texts for all children beginning school in present-day South Africa.
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Sinyonde, Bright. „Travel Narrative: Examining selected Southern African text“. Diss., 2016. http://hdl.handle.net/11602/897.
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Tolbert, Tolonda Michel. „To walk or fly? the folk narration of community and identity in twentieth century Black women's literature of the Americas /“. 2010. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052213.
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Treffry-Goatley, Lisa Anne. „A critical literacy and narrative analysis of African Storybook folktales for early reading“. Thesis, 2017. http://hdl.handle.net/10539/23002.
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Thesis (M.A. (Applied Language and Literacy Education))--University of the Witwatersrand, Faculty of Humanities, 2017This study critically analyses a set of folktales from the African Storybook website, which is an open licence digital publishing platform supporting early reading in Africa (www.africanstorybook.org). The selected folktales were mostly written by educators and librarians working in the African Storybook project pilot sites. The folktales were illustrated and published as indigenous African language and English storybooks during 2014 to 2015. The analysis is centrally concerned with the settings in which the folktales take place (with a distinction made between space, place and time), and the age and gender associated with central characters. The analytical tools used and the perspectives applied are drawn predominantly from post-colonial studies, African feminism, critical literacy, broad folktale scholarship, and theory from local – as opposed to global – childhoods. The analysis is interested in the conventions of the folktale genre, as it is constructed in the narratives by the writers. The three central findings with regards to the settings of folktales are as follows: (i) 90% of the folktales are set in rural environments in or near villages or small settlements. The somewhat idealised villages and settlements appear to have been relatively untouched by modern communications and infrastructure, and represent a “nostalgic, imagined past”. (ii) The study found that 75% of the folktales are set in the remote past, indexical of the folktale genre’s oral roots. (iii) Supernatural characters, objects and events occur in nearly 75% of the folktales. This suggests a possible interpretive space of intersecting temporalities and dimensions of existence, as well as possibilities for imaginative problem-solving. In addition, it raises challenging questions about the limits of human agency. The study also found that the ASb folktales, perhaps somewhat unsurprisingly for a genre that tends to employ archetypes and stereotypes, seemingly offer no characterisation outside of heteronormative family roles. But despite the heteronormativity and narrowly-defined family roles, especially for women characters, the folktales also present other positions for female gendered characters, and by extension for girl child readers – courageous, interesting, clever and unconventional female characters are in no shortage in these narrative populations. The findings suggest that the ASb folktales provide a range of identity positions for both girls and boys in African contexts, and my study reflects on how educators might navigate this complex territory. In particular, the findings point to how teachers and other adult caregivers might balance the moral and cultural lessons in folktales with the need for children to imagine and construct different worlds and positions for themselves.
MT2017
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Rogers, Sean Anthony. „Fighting tomorrow : a study of selected Southern African war fiction“. Thesis, 2005. http://hdl.handle.net/10413/1902.
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This research provides an analytical reading of five southern African war novels, in a transnational study of the experience of war as represented by the novels' authors. In order to situate the texts within a transnational tradition of writing about modern warfare, I draw on Paul Fussell's work on the fictional writings of the Second World War in combination with Tobey Herzog's work on the writings of America's war in Vietnam. Through a reading of Sousa Jamba's Patriots and Mark Behr's The Smell of Apples. I illustrate that while these and other southern African war texts can be situated within a transnational tradition of writing about modern warfare, they also extend the tradition by adding new and previously silenced voices. I then turn to a focus on specific experiences of southern African anti-colonial war as represented in Pepetela's Mayombe and Mark Behr's The Smell of Apples. These texts are read in light of Franz Fanon's extensive writings on the nature of colonial violence and with a focus on the role of the victim and perpetrator in violent resistance to colonial oppression. Following this, and keeping with my examination of the experience of war in southern Africa, I read Pepetela's Mayombe. Sousa Jamba's Patriots and Chenjerai Hove's Bones with a view to highlighting their writing of women in times of war. Using the work of Florence Stratton, this section exposes the great difficulties faced by women in times of war as a result of war's complicity in the maintenance of patriarchal societal structures. Finally, I read Chenjerai Hove's Bones and Mia Couto's Under the Frangipani as post-war texts so as to highlight the authors' use of organic images to imagine post-war futures that are not tainted by the experience of war. In examining this topic, I aim to suggest that all of the texts studied show war to be a continuum that results in failed societies. I therefore read the texts as active interventions that seek to break the destructive cycle of the region's wars in the hope of better and constructive futures.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
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Magwaza, Thenjiwe S. C. „Orality and its cultural expression in some Zulu traditional ceremonies“. Thesis, 1993. http://hdl.handle.net/10413/6172.
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Van, Aardt Anna Jacomina Susanna. „Une exploration de la morphologie du conte africain francophone“. Thesis, 2014. http://hdl.handle.net/10210/10872.
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Moyo, Robert. „Reading the prison narrative: An examination of selected Southern African Post - 2000 writings“. Diss., 2018. http://hdl.handle.net/11602/1176.
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MA (English Literature)Department of English
This study examines a selection of Post-2000 Southern African prison narratives. It primarily focuses on fictional narratives that were written in South Africa and Zimbabwe. Little critical attention has been given to fictional prison writing in Southern Africa considering that much critical attention has been accorded to autobiographies by political prisoners. The demise of autobiographical writing has led to the rise in the production of prison novels, hence the need to examine this evolving genre. This study is driven by the need to examine the construction and representation of subjectivity in the selected narratives. It explores how the prison is experienced, by paying attention to issues of criminality, identity, gender and power. This study begins with the examination of criminality and the representation of the function of the prison in Red Ink by Angela Makholwa (2007), followed by the exploration of gender and identity issues in A Book of Memory by Petina Gappah (2015). It further examines how the notions of power and counter-discourse are portrayed in The Violent Gestures of Life by Tshifhiwa Given Mukwevho (2014). This study employs the method of close textual analysis of the selected narratives. It is underpinned by post-colonial theory, the paradigm of the Panopticon which is foregrounded by Michel Foucault in Discipline and Punish: The Birth of Prison (1977) and Daniel Roux’s perceptions of the prison in Doing Time under Apartheid (2013). This study contends that notions of detention and imprisonment continue to play a central role in the production of selfhood in literary works. It is clear in the study that the prison is used as an institution to critique different phenomena regarding the prison experience. In this study, I clearly show that the selected narratives can be read as platforms for resistance against social ills that prevail in the post-apartheid/post-colonial society. I also argue that there is a thin line between fiction and non-fiction, apartheid/colonial and post-apartheid/post-colonial prison systems. The narratives I explore in this study reveal more continuities than discontinuities from the apartheid/colonial prisons.
NRF
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Chauke, Esther Tinyiko. „Nxopaxopo wa swivuriso swa Xitsonga swo vulavula hi swiharhi hi ku kongomisa eka ndlela leyi swi paluxaka hayona mahanyelo ni mavonelo ya vutomi ya Xitsonga“. Thesis, 2017. http://hdl.handle.net/11602/873.
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PhD (Xitsonga)Eka Senthara ya M. E. R. Mathivha ya Tindzimu ta Afrika, Vutshila na Ndhavuko
Xikongomelo xa ndzavisiso lowu i ku xopaxopa swivuriso swa Xitsonga leswi tshuriweke ku suka eka swiharhi swa le nhoveni na swiharhi swa le kaya (swifuwo) ku endlela ku kombisa hilaha swi paluxaka mahanyelo ni mavonelo ya vutomi ya Vatsonga eka swiyenge swa vutomi leswi landzelaka: rirhandzu na vukati, mavabyi na matshungulelo ya wona, rifu na swikholwakholwana, milandzu na maahlulelo ya yona, mitirho, vusiwana, rifuwo, vukhongeri, rivengo, vukungundzwana, nyimpi, vutlhari, dyondzo, makhombo, maambalelo, swakudya na swakunwa na swin‟wana na swin‟wana. Ndzavisiso lowu wu aviwile hi swiyenge swimbirhi leswikulu, xiyenge xo sungula xi kongomisiwe eka swivuriso leswi tshuriweke ku suka eka swiharhi swa le nhoveni kasi xiyenge xa vumbirhi xi kongomisiwe eka swivuriso leswi tshuriweke ku suka eka swiharhi swa lekaya (swifuwo). Xiyenge xo sungula xi tlhela xi aviwa hi swiyengentsongo swinharhu, ku nga, xiphemu lexi vulavulaka hi swivuriso leswi tshuriweke ku suka eka swiharhi swa le nhoveni leswi dyaka swimilana ntsena, swiharhi swa le nhoveni leswi dyaka nyama, na swiharhi swa le nhoveni leswi dyaka swimilana na nyama. Xiyenge xa vumbirhi na xona xi aviwa hi swiyengentsongo swinharhu, ku nga, swivuriso swa swiharhi leswi tshuriweke ku suka eka swifuwo leswi dyaka swimilana ntsena, swivuriso swa swifuwo leswi dyaka nyama na swivuriso swa swifuwo leswi dyaka swimilana na nyama. Vuxokoxoko bya ndzavisiso lowu byi tekiwile ku suka eka Vutlhari bya Vatsonga (Machangana) ku nga tsalwa ra swivuriso swa Xitsonga leri tsariweke hi HP Junod (1978). Swivuriso leswi swi xopaxopiwa hi tihlo ra vuxoperi hi ku tirhisa maendlelo ya Lakoff, G na Johnson, M (1980) ya thiyori ya mianakanyo ya vugego (Conceptual Metaphor Theory) Eka thiyori leyi ku vuriwa leswaku mhakankulu leyi lawulaka matirhelo ya swivulwana swa vugegovutlhokovetseri a hi ririmi, kambe i mianakanyo. Thiyori leyi yi tirhisa mpananiso (cross domain mappings), laha mhaka ya nkoka ku nga xitikoxihlovo (source domain) na xitikoxikongomisiwa (target domain). Hi ku ya hi thiyori leyi, nchumu wo karhi wu twisiseka kahle hi ku wu pimanisa na wun‟wana. Hileswaku, xitikoxikongomisiwa xi twisiseka ku antswa hi ku xiya xitikoxihlovo.
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„The social function of Setswana folktales“. Thesis, 2015. http://hdl.handle.net/10210/14468.
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M.A.The object of this work is to investigate and identify the social function of Setswana folktales. Folktales are known as stories which were told to entertain people. These were told through performance. Without performance it would be impossible to identify the basic functions of folktales which are entertainment and education. This work was done through reference to relevant sources. Interviews with informants were conducted. Although many of the informants co-operated during the interviews, some were doubtful about talking to a stranger who recorded their voices and even demanded to know their names. Most informants supplied folktales (told stories) rather than discussing their functions...
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Klein, Emily Joanna. „"White writing" from the veld female voices of Southern Africa, 1877-1952 /“. Diss., 2003. http://catalog.hathitrust.org/api/volumes/oclc/55531211.html.
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Stewart, Graham Douglas James. „The implications of e-text resource development for Southern African literary studies in terms of analysis and methodology“. Thesis, 1999. http://hdl.handle.net/10413/9002.
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This study was aimed at investigating established electronic text and information projects
and resources to inform the design and implementation of a South African electronic text
resource. Literature was surveyed on a wide variety of electronic text projects and virtual
libraries in the humanities, bibliographic databases, electronic encyclopaedias, literature
webs, on-line learning, corcordancing and textual analysis, and computer application
programs for searching and displaying electronic texts .The SALIT Web CD-ROM which is
a supplementary outcome of the research - including the database, relational table structure,
keyword search criteria, search screens, and hypertext linking of title entries to the
electronic full-texts in the virtual library section - was based on this research. Other
outcomes of the project include encoded electronic texts and an Internet web site.
The research was undertaken to investigate the benefits of designing and developing an etext
database (hypertext web) that could be used effectively as a learning/teaching and
research resource in South African literary studies. The backbone of the resource would be
an indexed ''virtual library" containing electronic texts (books and other documents in
digital form), conforming to international standards for interchange and for sharing with
others. Working on the assumption that hypertext is an essentially democratic and anti canonical
environment where the learner/users are free to construct meaning for themselves,
it seemed an ideal medium in which to conduct learning, teaching and research in South
African literature.
By undertaking this project I hoped to start a process, based on international standards, that
would provide a framework for a virtual library of South African literature, especially those
works considered "marginal" or which had gone out of print, or were difficult to access for
a variety of reasons. Internationally, the TEI (Text Encoding Initiative) and other, literature based
hypertext projects, promised the emergence of networked information resources that
could absorb and then share texts essential for contemporary South African literary
research.
Investigation of the current status of on-line reference sources revealed that the digital
frameworks underlying bibliographic databases, electronic encyclopaedias and literature
webs are now very similar. Specially designed displays allow the SALIT Web to be used as
a digital library, providing an opportunity to read books that may not be available from any
other library. The on-line learning potential of the SALIT Web is extensive. Asynchronous
Learning Network (ALN) programmes in use were assessed and found to offer a high
degree of learner-tutor and learner-learner interaction.
The Text Analysis Computing Tools (TACT) program was used to investigate the
possibility of detailed text analysis of the full texts included in the SALIT library on the CDROM.
Features such as Keyword-in-context and word-frequency generators, offer valuable
methods to automate the more time-consuming aspects of both thematic and formal text
analysis.
In the light of current hypertext theory that emphasises hypertext's lack of fixity and
closure, the SALIT Web can be seen to transfer authority from the author/teacher/librarian,
to the user, by offering free access to information and so weakening the established power
relations of education and access to education. The resource has the capacity to allow the
user to examine previously unnoticed, but significant contradictions, inconsistencies and
patterns and construct meaning from them. Yet the resource may still also contain
interventions by the author/teacher consisting of pathways to promote the construction of
meaning, but not dictate it.
A hypertext web resource harnesses the cheap and powerful benefits of Information
Technology for the purpose of literary research, especially in the under-resourced area of
South African literary studies. By making a large amount of information readily available
and easily accessible, it saves time and reduces frustration for both learners and teachers.
An electronic text resource provides users with a virtual library at their fingertips. Its
resources can be standardised so that others can add to it, thus compounding the benefits
over time. It can place scarce works (books, articles and papers) within easy access for
student use. Students may then be able to use its resources for independent discovery, or via
guided sets of exercises or assignments. Electronic texts break the tyranny of inadequate
library resources, restricted access to rare documents and the unavailability of
comprehensive bibliographical information in the area of South African literary studies.
The publication of the CD-ROM enables the launch of new, related projects, with the
emphasis on building a collection of South African texts in all languages and in translation.
Training in electronic text preparation, and Internet access to the resource will also be
addressed to take these projects forward.Thesis (Ph.D)-University of Durban-Westville, Durban,1999.
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Maake, Nhlanhla Paul. „Trends in the formalist criticism of Western poetry and African oral poetry : a comparative analysis of selected case studies“. Thesis, 1994. http://hdl.handle.net/10500/17266.
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This thesis sets off from an a priori hypothetical position that the universality
of certain language features, particularly poetic expression, provides an opportunity
for syncretism in the reading, analysis, explication, and interpretation of African
literature, specifically oral poetry, our teleological point being the formulation of a
syncretic approach.
In the first chapter we undertake an overview of the debate which has been
ensuing among 'African' critics in the search of an 'African' poetics. We proceed, in
the second and third chapters, to undertake a study of two 'Western' schools of
thought, namely Formalist-Structuralism and New Criticism, with a view to setting
the critical theories and practice of some major protagonists of these schools of
thought against sample readings of African oral poetry. In the fourth and fifth
chapters we proceed to select and analyse some of the most prominent critics of
African oral poetry, and undertake detailed case studies of their critical assumptions
and practice, in retrospective comparison with the theoretical paradigms and practical
readings dealt with in chapters two and three.
In the sixth and final chapter we assess the syncretic approach suggested,
together with its implications for the future research and teaching of African oral
poetry. Our findings suggest that the case studies of critiques of African oral poetry
reveal certain shortcomings which might have been strengthened by a perspicacious
awareness of Formalist-Structuralist and New Critical methodology.
From this postpriori perspective we suggest a syncretic approach which, in its
sensitivity to the idiosyncratic features of African languages, will at the same time
acknowledge, adopt and adapt sophisticated poetical analyses which have been
developed by Western poetics. Our findings also suggest specific ways in which
Western standards could be evaluated with a considerable degree of exactitude. We
conclude by, inter alia, opening directions of research which could advance the
debate towards an African poetics beyond doctrinaire wrangle, so that progress can
be made through further close studies of other schools of thought and theories in
order to assess their applicability and/or adaptability to African poetry and other
genres.Afrikaans and Theory of Literature
D. Litt et Phil (Theory of Literature)
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Rogers, Sean Anthony. „'War is a snake that bites us with our own teeth' : reading war in Southern African literature from 1960 to 2002“. Thesis, 2011. http://hdl.handle.net/10539/10176.
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1960 marked the beginning of a profoundly violent and unstable period in southern Africa’s history. Central to the fundamental socio-political changes that took place in the region and many of its countries during this period were a number of wars, the last of which only ended in 2002. While the specific reasons for each of these wars were complex and varied, according to each country, the central roles these wars have played in the creation of the countries they affected – and the region as a whole – are evident to this day. It is, therefore, important to look at the position the writing of war holds in southern Africans’ attempts to represent, define and imagine southern Africa and its component countries during and after the experience of war. With this in mind, this study examines the manner in which the texts under scrutiny form a web of creative engagement in the context of a violent and unstable region. The aim of the work is to illustrate that the region’s writing of war can be seen to respond to both national and regional concerns and, in doing so, form a platform for an imagining of both nation and region. Methodologically, the research presented in this study is based on a close reading, through extensive contextualisation, of the selected primary texts with a view to understanding the similarities, commonalities and differences present in the region’s war writing. It is divided into six chapters which, aside from the Introduction and Conclusion, include readings of texts from Angola, Zimbabwe, South Africa and Mozambique. The study finds war to be central to the selected texts’ presentation of their imaginings of nation and, importantly, to the realisation, defence or dissolution of that imagined nation. Two factors are found to be key to these imaginings: the role of the moment in which the texts are written and the depiction of the role of the hero, in various forms, in the attainment or illustration of the nation. In terms of the study’s contentions relating to southern Africa as a region, the readings illustrate that war is central to the manner in which the region
is also imagined by the texts’ authors. Additionally, the study reveals imaginings of region that change over time and thus map the shifting configurations of southern Africa formed as political allegiances between countries were transformed, or restructured, by the experience of war. In response to these findings, the study suggests that as a region, southern Africa owes much of its current configuration to the shared experience of war between 1960 and 2002. Paradoxically, therefore, war in southern Africa, as the primary texts show it to function, can be seen to have been socially developmental through the forced creation of a sense of region. This view has implications for the manner in which regions are viewed in other areas of the African continent because, by way of a similar use of war as a point of focus through which to read region in primary texts, the imaginings of other African regions, such as that created by wars in Somalia and Sudan, can be conceptualised and configured.
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Manase, Irikidzayi. „The mapping of urban spaces and identities in current Zimbabwean and South African fiction“. Thesis, 2003. http://hdl.handle.net/10413/3428.
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The dissertation focuses on the mapping of the southern African urban spaces and how it is linked to the urban dwellers' constitution of their identities, agency and subversion of the obtaining bleak and hegemonic conditions as represented in current fiction set in South Africa and Zimbabwe. Chapter 1 of the dissertation gives an overview of the social and historical developments characterising the construction of the southern African city from the colonial up to the current global city. The subordinate and marginal identities inscribed upon the Southern Africans as well as early forms of agency and subversion of the Western social, political and economic hegemony that has defined the city through out history will be looked at. Michael de Certeau's (1993) ideas showing the hegemonic
Western socio-economic agenda's creation of ordinary urban dwellers' invisibility and fragmentation, which they later subvert by renaming and remapping the alienating urban spaces of New York to improve their own lives, will be taken into consideration in this chapter's definition of the construction of the city and urban identities. In Chapter 2, the representation of the southern African urban spaces' cartography in the fiction is discussed. The characteristic spaces ranging from the socially and morally decayed inner-city, the well-built postmodern and elite Central
Business District, the affluent low-density suburbs and the far-away impoverished highdensity suburbs will be explored. The discussion attempts a complex unpacking of linkages between the mapping of Harare and Johannesburg with the hegemonic western social and economic agenda as well as the current urban dwellers' state of individual and
psychological fragmentation. Chapter 3 examines the way in which the current southern African urban social dislocation is represented in the fiction. The complexity of the urban dislocation signified by the prevalence of violence, xenophobia and HIV/AIDS is discussed. There is also a dialectical analysis ofhow the depicted urban dislocation is located within the legacy of colonialism and apartheid, the western global cultural and economic influence as well as individual effort and decision-making in the chapter. Chapter 4 explores the ways in which gendered urban spaces are portrayed in the fiction. The subordination of primarily women, as well as the weak and dependent irrespective of gender is discussed. The resultant anxieties, alienation, marginalisation of women and the subservient are viewed from the traditional and colonial patriarchy's construction of the city as a predominantly masculine space excluding women. The western global cultural and economic hegemony's creation of a new gendered ideology
characterised by the exclusion and feminisation of the poor, invisible and dependent is also discussed in this chapter. Nevertheless, the chapter ends with a discussion of the existing possibilities of female empowerment notably inscribed in the city's open education system, informal trade space as well as the provision of a social space encouraging pragmatic female decision-making especially in relation to HIV and AIDS. Finally the dissertation's concluding note is based on an evaluation of the postcolonial condition of southern Africa in relation to the mapping of the urban spaces
and various identities represented in the fiction. An attempt is also made to place the research within the problematic of whether the mapping is based on postcolonialism or postmodernism. The objective here is to offer the importance of a cross-reading between the two as enabling a more meaningful conception of the region's current urban space.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.
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Hooper, Myrtle Jane. „The silence at the interface : culture and narrative in selected twentieth-century Southern African novels in English“. Thesis, 1992. http://hdl.handle.net/10413/8569.
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The primary intention of this study is to establish the theoretical
significance of silence within the sphere of the twentieth-century
Southern African novel in English. Clearly a feature of recent writing,
silence is less overtly thematised in earlier work. Since relatively
little critical and theoretical attention has been paid to silence as a
positive phenomenon, however, modes of reading it are sought within the
broader sphere of the social sciences, and specifically its tradition of
social constructionism. Care is taken to address the pressures of the
local context, identified in terms of the postcolonial paradigm as
relating to language and to culture. A deliberate theoretical innovation
is the renunciation of the trope of penetration in favour of the notion
of an interface between intact language-culture systems, given an
understanding of culture as existing between subjects in relations of
power. Fictional narrative which addresses cross-culturality is thus
read as a process of cultural translation, and the volitional deployment
of silence as an act of resistance to its power. The significance of
language is registered in the use of speech-act theory, in the
insistence on meaning as generated in spatially and temporally situated
conversation, and in the exploration of the influence of pronominal
relations on identity. Emerging from my investigation is a recognition
of the measure offered by silence of the autonomy of character as
subject, and a corresponding recognition of the constitutive capacity of
the reader to site the power of narration amongst the polyphonic voices
within the culture of the text. The postcolonial paradigm indicates the
need for a regional rather than a national perspective; thus the
interfaces considered in the case studies include, in Plaatje's Mhudi,
orality and literacy, tribal membership and non-sectarianism, Tswana and
English; in Paton's Too Late the Phalarope the private domain and
apartheid as public hegemonic discourse, narration as possession, and
the tragic as structuring textual relations; and in Head's Maru the
constitution of a postcolonial identity that resists and transcends the
discursive hostility of racism, and the dislocation, displacement and
alienation of exilic refuge from apartheid.Thesis (Ph.D.)-University of Natal, Durban, 1992.
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Canonici, Noverino Noemio. „C.L.S. Nyembezi's use of traditional Zulu folktales in his Igoda series of school readers“. Thesis, 1985. http://hdl.handle.net/10413/6253.
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Marsden, Dorothy Frances. „Changing images : representations of the Southern African black women in works by Bessie Head, Ellen Kuzwayo, Mandla Langa and Mongane Serote“. 1994. http://hdl.handle.net/10500/18134.
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This study examines representations of Southern African black women
in the works' of two male and two female writers. A comparative
approach is used to review the ways in which the writers
characterise women who labour under intense restrictions in
domestic situations, the workplace, and in political contexts.
Some representations suggest that women have come to terms with
social strictures and have learned to live fulfilled lives despite
them. Other representations are contextualised in creative situations
in which social roles are re-imagined. In the process,
women are removed from conventional object-related gendered
positions. These representations suggest that women have the
capability to achieve personal transcendence rather than accept the
immanence imposed by stereotyped gender relationships and repressive
political structures. The suggestion is made that writers can
change the image of women by centralising them as active subjects,
challenging their exclusion and creating spaces for women to
represent themselvesEnglish Studies
M.A. (English)
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Lubambo, Remah Joyce. „The role played by siSwati folktales in building the character of boys : a socio-functionalist approach“. Diss., 2020. http://hdl.handle.net/10500/26605.
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Includes bibliographical references (leaves 103-107)This study explored the role played by Siswati folktales in building the character of boys. It included how boys are depicted in folktales and how this depiction influences boys in real life. The study further investigated the correlation between traditional and modern boys and tried to uncover the value of folktales regarding the boys of today. The way boys are portrayed in folktales, their heroism in fighting and conquering monsters, could encourage present-day boys to fight the monsters that they come across daily. Based on the application of the lessons from folktales, the study examined how societal changes affect boys today.
African Languages
M.A. (African Languages)
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Wessels, Michael Anthony. „Interpretation and the /Xam narratives“. Thesis, 2006. http://hdl.handle.net/10413/963.
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There has, in the last quarter of a century, been an increased interest in the /Xam narratives that form the major part of the nineteenth century archive of materials collected by Lucy Lloyd and Wilhelm Bleek in Cape Town from /Xam informants. This has resulted in a proliferation of writing about the Bleek and Lloyd collection and its contents. The critical examination of some of this body of writing forms part of the project of this thesis. The other aim of the thesis is to provide a close reading of certain of the /Xam texts themselves. This thesis is based on the view that the first of these projects has only been attempted in a cursory and indirect fashion and that the second, namely the close reading of/Xam texts, has not yet been undertaken on a scale that parallels the range and complexity of the materials or which exhausts the interpretative possibilities they offer. This thesis aims to fill some of these gaps in the literature without claiming that a comprehensive or definitive study is possible in so wide and rich a field. Postmodern and postcolonial theory has emphasised the discursive and ideological nature of the language of both hermeneutics and literature. In my consideration of the /Xam texts and the writing that has been produced in relation to them, I attempt to consistently foreground the historicity and textuality of my own practice and the practices of the materials with which I am working. In this regard I question, especially, two assumptions about the /Xam narratives: that they are primarily aetiological and that their chief character, /Kaggen, the Mantis, is a trickster.Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.
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Rananga, Ntshengedzeni Collins. „Professionalising storytelling in African languages with special reference to Venda“. Thesis, 2008. http://hdl.handle.net/10500/1329.
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Unlike in the days of yore where storytelling was primarily known for its entertainment value, storytelling should be harnessed to make people's livelihood.
Chapter 1 serves as prologue wherein the background of the study, problem statement, statement of aims, research methodology, research questions, hypotheses, definition of terms and organization of the study are presented. Storytelling began with the aim of transmitting the culture of people from one generation to another. There are different theories to account for the origin of stories. The identified problem is that storytelling is dying because it has not yet been professionalised in African languages. For storytelling to become viable in South Africa, storytellers have to be economically empowered. Both qualitative and quantitative approaches were employed in this study. Various questions have been prepared for use when interviewing the respondents.
As a point of departure, the research hypotheses were laid down. Various concepts used in the study have been defined in order to clarify any misconceptions. For a study to follow a predetermined plan, it has to be organised in its initial stage. For that reason what has been discussed in each chapter has been summarised in the first chapter.
Chapter 2 presents views of scholars, researchers and authors in general on how storytelling could be professionalised. The factors which retard the professionalisation of storytelling were also provided. The furnished views are classified according to their similarity.
In Chapter 3, the methodology used in the gathering of research data is outlined. Both qualitative and quantitative methodologies were used, but the qualitative method more extensively because this is an explorative study. Data was collected through interviewing, questionnaires, documents and observation methods. Two sampling methods were used to select the respondents: the snowball sampling method and the judgmental or purposeful sampling design. The setting of the study was determined by the accessibility and the willingness of the respondents to use the site.
Once the data was collected, it was analysed and interpreted. Chapter 4 focuses on the analysis and interpretation of the research data collected through interviews, questionnaires and systematic observations. During data analysis, similar themes from different respondents were combined in order to interpret the main findings. All such themes are discussed under major categories. In this chapter, themes were identified in relation to how storytelling might be professionalised.
The fifth chapter outlines the main findings arrived at during the analysis and the interpretation of the data. To make this study more pragmatic, the findings are accompanied by suggested recommendations.
The final chapter provides a general conclusion to the entire study. The success of professionalised storytelling and storytellers, the implications in terms of teaching and professionalisation, the implications for further study and the limitations of the study are also dealt with in this chapter.African Languages
D. Litt. et Phil. (African Languages)
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Steele, Dorothy Winifred. „Interpreting redness: a literary biography of Zakes Mda“. Thesis, 2007. http://hdl.handle.net/10500/1736.
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This study of Zakes Mda's life and sixteen of his plays and seven novels, written
from 1966 to the present day, set in South Africa, Lesotho and the United States
of America, shows how his life and works interweave, and how his
defamiliarisation mode, his magic realism and his juxtaposed timeframes
stimulate reader response and self-realisation, bringing about change.
Experiences of marginalisation due to early childhood sexual abuse, exile,
and being banished from church, and his involvement in political movements
outside the mainstream, have caused him to be an astute observer of life. He is
sceptical of authority and power, and is as critical of those who seek power,
becoming intoxicated thereby, as of those who give away their power and so
perpetuate unacceptable institutions and their own victimisation. At all times
though, his writing style is creative and entertaining, rooted in the African oral
tradition from which he springs, but also portraying international influences to
which he has been exposed over the years.English Studies
M.A. (English)
47
Ntsihlele, Flora Mpho. „Games,gestures and learning in Basotho children's play songs“. Thesis, 2003. http://hdl.handle.net/10500/1768.
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Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures.
It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators.ART HIST, VIS ARTS & MUSIC
DLITT ET PHIL (MUSICOLOGY)
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Mowatt, Robert. „Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini“. Thesis, 2005. http://hdl.handle.net/10413/1858.
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In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
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Lubambo, Remah Joyce. „Manipulation in folklore: a perspective in some siSwati folktales“. Thesis, 2019. http://hdl.handle.net/10500/26751.
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Owing to changes brought by modernisation, folktales and other folklore genres are
often looked down upon, and thought by many to be outdated. The aim of this study is
to explore manipulative behaviour in Siswati folktales. The study glanced at how
manipulation is used in folktales, i.e. the causes and key strategies used by
manipulators to manipulate their victims. The focus was on the conformism of
manipulation in folktales, to current practice of manipulation in different social
institutions, implication of manipulation, and how manipulation could be controlled.
The researcher used the qualitative research method to collect and analyse data. To
achieve the objectives of the study, data was collected from 28 folktale books that were
purposefully selected for the purpose of providing information to answer the research
questions. All data collected was analysed using ’Neuman’s (2000) Analytic Approach
whereby the Method of Agreement and the Method of Difference was utilised. Data
was categorised into different themes teased from the folktales for analysis.
Based on the findings of the research, it is evident that manipulation prevails in Siswati
folktales. Different characters are being manipulated in different settings using different
strategies and tools. The powerful manipulate the less powerful, the intelligent
manipulate the less gifted, and the rich manipulate the poor, while the knowledgeable
manipulate the ignorant. The research findings relate very well with the current
manipulative behaviour practiced by different social institutions and almost every
individual and society is affected. Furthermore, the research reveals that manipulation
can be curbed if current victims of manipulation decide to expose manipulative acts and join forces to fight the manipulator. In this case, it is recommended that different
stakeholders from various departments join forces to fight manipulative tendencies that
prevail in different institutions and society as a whole. The present study may revitalize
the urge and the need to reconsider the study of folktales, since their themes remain
the same.African Languages
D. Litt. et Phil. (Languages, Linguistics and Literature)
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Mthethwa, Nandi Cedrol. „Lucwaningo lolujulile ngetaga elulwimini LweSiswati“. Thesis, 2019. http://hdl.handle.net/11602/1532.
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PhD (IsiSwati)MER Mathivha Centre for African Languages, Arts and Culture
Lolu lucwaningo lolutsintsa taga elulwimini lweSiswati. Lucwaningo lwesekelwe luhlatiyombhalo (textual analysis) nelwetingcikitsi (themes) lolubuka lwati ngalokubanti lucuketse tingcikitsi, sisekelo semaciniso emisuka, kubaluleka, lwati lwendzabuko, kwehlukaniseka kwemasiko nekuhleleka kwetaga. Taga letitsintsa tilwane, titfo temtimba, kutfukutsela, budlelwano, inhlonipho, inkhutsalo, buphuya, inhlakanipho nemikhuba yenchubo yesintfu. Taga tibukwa ngekususelwa etinganekwaneni, etibongweni, etinanatelweni, emahubeni, etishweni nasetiphicaphicwaneni. Tinongo tenkhulumo letifana nesifanisongco, sifaniso nesihabiso tihlatiywa macondzana netaga. Lucwaningo lukhutsata kusebenta kwetaga emimangweni leyehlukene nasesiveni jikelele.
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