Littérature scientifique sur le sujet « Zulu (folk) »
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Articles de revues sur le sujet "Zulu (folk)"
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Canonici, N. N. « Sequential depth in Zulu folk-tales ». South African Journal of African Languages 6, no 2 (janvier 1986) : 62–66. http://dx.doi.org/10.1080/02572117.1986.10586652.
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Msimang, C. T. « Syntagmatic versus paradigmatic structural analysis of Zulu folk-tales ». South African Journal of African Languages 10, no 4 (janvier 1990) : 307–13. http://dx.doi.org/10.1080/02572117.1990.10586861.
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Canonici, N. N. « Trickery as the hallmark of comedy in Zulu folk-tales ». South African Journal of African Languages 10, no 4 (janvier 1990) : 314–18. http://dx.doi.org/10.1080/02572117.1990.10586862.
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Hammond-Tooke, W. D. « Twins, incest and mediators : the structure of four Zulu folk tales ». Africa 62, no 2 (avril 1992) : 203–20. http://dx.doi.org/10.2307/1160455.
Texte intégralRésumé :
AbstractThis article attempts to apply Levi-Straussian methods of myth analysis to four Zulu folk tales recorded by Callaway in the 1860s and published, with a number of other stories and fragments, with parallel English and Zulu texts. The folk tales were selected on the grounds that they all dealt with relationships within the family, and appeared to be making, at least subjectively, serious statements on matters of significance.Although they differed greatly in plot, character and locale, it transpired on analysis that all four stories contained the same deep structure. More particularly, all involved the interaction of sets of male and female twins, and all ended on the positive note of marriage. More strikingly, in each case there was a crucial episode in which sour milk was offered by the male twin to his sister, who, in each case, refused it. Also central to all the stories was the intervention of an ambiguous animal, bird or monster.It is suggested that the clue to the interpretation of this set of folk tales lies in the importance of sour milk, in all Nguni societies, as a symbol of kinship: it may be drunk only together with kin. Refusal to drink is therefore a denial of kinship (and a statement of availability for marriage). The possible meaning behind the surface structure of the tales is discussed as an attempt to reconcile the incompatibility between the (universal) drive towards incest (why else the rigid taboos?) and Nguni preoccupation with avoiding it, as expressed in the wide-ranging elaboration of Nguni exogamy rules.
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Ani, Kelechi Johnmary, et Dominique Emmanuel Uwizeyimana. « Gender, Conflict and Peace-Building in Africa : A Comparative Historical Review of Zulu and Igbo Women in Crisis Management ». International Journal of Criminology and Sociology 10 (31 décembre 2021) : 1726–31. http://dx.doi.org/10.6000/1929-4409.2021.10.195.
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The male gender has often dominated the quest for societal security. Analysis and studies on security management and peace-building tend to advance the role of the male folk more than their female counterparts. This study traced the role of historic Zulu women in societal security management and compared it to the Aba Women's War that is popularly referred to as the Aba women riot. The study used the African developmental feminism theory to anchor its analysis. It maintained that these women rose at critical times to challenge the forces that planted insecurity in their societies. It found that they engaged in both strategic and reactive peace-building. The study also reveals the similarities and differences in Zulu and Igbo women intervention in conflict and security management. Finally, the researchers recommended considering the widespread nature of insecurity in many remote parts of Africa that have consistently led to the death of women and children. There should be a re-awakening of female security regiments in many African societies, and they should be trained to secure their lives and properties through community policing efforts.
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Bergen-Aurand, Brian. « Editorial ». Screen Bodies 2, no 2 (1 décembre 2017) : v—xviii. http://dx.doi.org/10.3167/screen.2017.020201.
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This cover of Screen Bodies features a photograph by Collen Mfazwe entitled “Love Has No Gender, Race or Sexuality. Boitumelo and Collen. (August 2017).” Mfazwe lives in Benoni, Gauteng, South Africa, and is a photographer at the South African platform Inkanyiso (Zulu for “the one who brings light”). In “Love Has No Gender,” we find a summary of Mfazwe’s response to South Africa’s drastically high rate of violent crime against womxn, lesbians, and bisexual and trans folk, a long-running pattern of gender-based violence that she confronts in a series she has been developing since 2017 called Imizimba (Bodies).
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Nundkumar, N., et J. A. O. Ojewole. « Studies on the antiplasmodial properties of some South African medicinal plants used as antimalarial remedies in zulu folk medicine ». Methods and Findings in Experimental and Clinical Pharmacology 24, no 7 (2002) : 397. http://dx.doi.org/10.1358/mf.2002.24.7.696540.
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DEMIRDEN, Nursel. « The Reflection of the "Zuluf" Motif in Turkish Literature and Folk Songs ». Turcology Research 76, no 1 (23 janvier 2023) : 23–31. http://dx.doi.org/10.5152/jtri.2023.22125.
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Van Olmen, Daniël. « A diachronic corpus study of prenominal zo’n ‘so a’ in Dutch ». Functions of Language 26, no 2 (2 août 2019) : 216–47. http://dx.doi.org/10.1075/fol.16017.van.
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Abstract Like its English counterpart such, Dutch zo’n has identifying and intensifying uses. The established pathway from the former to the latter is found to constitute a proportional rather than a discrete shift here. The strong presence of intensifying uses from the start, as compared to the older Dutch marker zulk, is argued to be due to preexisting constructions that are alike formally and convey intensification. Zo’n is also found to have a recognitional and an approximating use. The case is made that the former has evolved out of the identifying use and that the latter is a development which is independent from the other uses functionally but has modeled itself on them formally. Finally, it is argued that the semantic shift from identification to intensification is best captured by the well-known pathway from textual to expressive, although the unidirectionality of this cline is uncertain, and that the change from identification to recognition supports a recent proposal to distinguish immediate and extended intersubjectivity.
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Chikowore, Tinashe, Kenneth Ekoru, Marijana Vujkovi, Dipender Gill, Fraser Pirie, Elizabeth Young, Manjinder S. Sandhu et al. « Polygenic Prediction of Type 2 Diabetes in Africa ». Diabetes Care 45, no 3 (11 janvier 2022) : 717–23. http://dx.doi.org/10.2337/dc21-0365.
Texte intégralRésumé :
OBJECTIVE Polygenic prediction of type 2 diabetes (T2D) in continental Africans is adversely affected by the limited number of genome-wide association studies (GWAS) of T2D from Africa and the poor transferability of European-derived polygenic risk scores (PRSs) in diverse ethnicities. We set out to evaluate if African American, European, or multiethnic-derived PRSs would improve polygenic prediction in continental Africans. RESEARCH DESIGN AND METHODS Using the PRSice software, ethnic-specific PRSs were computed with weights from the T2D GWAS multiancestry meta-analysis of 228,499 case and 1,178,783 control subjects. The South African Zulu study (n = 1,602 case and 981 control subjects) was used as the target data set. Validation and assessment of the best predictive PRS association with age at diagnosis were conducted in the Africa America Diabetes Mellitus (AADM) study (n = 2,148 case and 2,161 control subjects). RESULTS The discriminatory ability of the African American and multiethnic PRSs was similar. However, the African American–derived PRS was more transferable in all the countries represented in the AADM cohort and predictive of T2D in the country combined analysis compared with the European and multiethnic-derived scores. Notably, participants in the 10th decile of this PRS had a 3.63-fold greater risk (odds ratio 3.63; 95% CI 2.19–4.03; P = 2.79 × 10−17) per risk allele of developing diabetes and were diagnosed 2.6 years earlier than those in the first decile. CONCLUSIONS African American–derived PRS enhances polygenic prediction of T2D in continental Africans. Improved representation of non-European populations (including Africans) in GWAS promises to provide better tools for precision medicine interventions in T2D.
Thèses sur le sujet "Zulu (folk)"
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Gumede, Mzuyabonga Amon. « Izigiyo as performed by Zulu women in the KwaQwabe community in KwaZulu-Natal, South Africa ». Thesis, 2009. http://hdl.handle.net/10413/879.
Texte intégralRésumé :
This study investigates the content of izigiyo (specified personified solo dance songs) texts that Zulu women perform at social occasions in KwaQwabe, a rural area near KwaDukuza (Stanger) in Northern KwaZulu-Natal, South Africa. Though this study focuses on izigiyo, the KwaQwabe have different oral performances that are performed at specific social occasions. In the KwaQwabe area there lives people who practise subsistence farming. The common crops that they (especially women) grow are maize, beans, groundnuts and imifino (herbs). The cattle and goats that the KwaQwabe men keep are mostly slaughtered for the amadlozi rituals. The study proposes that izigiyo as oral texts are largely responses to issues of heritage, culture, women abuse and domestic violence that lead to pent-up emotions, envy, witchery, gossip, and malpractices that can destroy a community-oriented life-style (Turner, 1998) that features in most African communities. The study hypothesises that Zulu women of KwaQwabe need to be treated with dignity and inhlonipho (respect) within the parameters of the Zulu tradition (Msimang, 1975). The study explores issues surrounding the izigiyo performance in order to establish whether Zulu women have always been silent (Bukenya, 2001) when it comes to issues that affect their lives, pertaining to issues that impinge negatively on their lives (Gunner and Gwala, 1991). The intended receivers of the messages (Ndoleriire, 2000) are always implied in the izigiyo texts and aim at serving as social regulators (Gumede, 2000). The language of izigiyo is in most cases metaphorical so as to avoid confrontation. In the midst of the izigiyo expression men and women relay their perceptions, experiences, and feelings about the way of life in their families and communities at large. This study, however, limits itself to the izigiyo texts that are enacted by Zulu women and does not include men’s.Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.
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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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Neser, Ashlee. « Speaking to changing contexts : reading Izibongo at the urban-rural interface ». Thesis, 2001. http://hdl.handle.net/10413/8989.
Texte intégralRésumé :
In this thesis I argue that recently recorded izibongo must be read as literary texts that
articulate responses to the multiple forces of constraint and possibility at the urban-rural
interface. I argue that when scholars transcribe and translate performance texts they release
them into new contexts of reception, and that the mediation processes involved in this
recontextualisation become an important part of the way in which the texts make meaning
for their new 'audiences'. As such, it is imperative that analysis of print-mediated izibongo
should take into account both the performance text and context as well as the intervention
of literate intermediaries in the creation of a print text. I argue for maintaining a dialectic
between performance textuality, which shapes the text as it is recited to a participating
audience, and the textuality of transcription. We have thus to keep in mind at least two sets
of receivers - those present at, and part of, the construction of the praise poem in
performance, and the literate receiver, reading from a new moment and, often, a different
social and cultural space.
I argue that the scholar in English Studies has an important contribution to
make to the recording and the study of izibongo as literary and performance texts. S/he
must devise ways in which processes of translation and transcription can more adequately
and creatively insist on performance textuality. The English Studies scholar must also read
and write about izibongo as texts that have complex meanings and that speak to their
changing contexts of reception. Such analysis necessitates attention to individual texts and
requires of the critic a willingness to revise her/his learned ways of reading. There is a
need in oral literary studies to challenge print-influenced academic discourses in order to
make these theories more receptive to the actual ways in which many people make sense of
their lives through creative expression. In this thesis I consider the ways in which
contemporary postcolonial and poststructural theory might more adequately listen to what
postcolonial people say about themselves and others. In this, I argue for an academic
approach that privileges cultural interdiscursivity, interdisciplinary co-operation, and an
attitude of respect for the different ways in which forms like izibongo construct meaning.
This thesis thus has a dual focus: it examines how recently recorded praise poems address
the problem of reconstructing identity at the urban-rural interface, while considering the
ways in which they speak to the uncertain identity of the scholar who tries to read them.
Drawn from a variety of sources, the poems comprise both official and popular praises to
suggest not only the variety of the form, but also the ways in which individual and group
identities speak to each other across texts. Given the importance of self-expression at the
heart of the form of izibongo, I argue that scholars in English Studies must resist the
possibility, both in transcription and in criticism, of eliding the individual subjects involved
in mediating identity and textuality. I also suggest that English Studies has a duty to write
the oral back into institutionally defined literary histories by considering how our writing
and ways of reading can better accommodate oral textuality.Thesis (M.A.)-University of Natal, Durban, 2001.
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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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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.
Texte intégralRésumé :
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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Khuzwayo, Anthony S'busiso. « Ukuvezwa komlando ezibongweni zamakhosi amabili akwazulu, uDingane nomPande ». Thesis, 2007. http://hdl.handle.net/10413/1631.
Texte intégralRésumé :
This research is entitled "The historical representation of the praise-poetry of
the two Zulu kings, Dingane and Mpande." In this study the researcher is
trying to explore the ways in which history is portrayed in these two above
mentioned kings. This is done firstly by looking particularly at their historical
outlooks and secondly by looking at their praises. In traditional Zulu society,
every Royal king has to possess praises. Therefore the praises basically contain
historical events.
The analysis of the findings reveals that king praises contain largely of the heroic
deeds, body features and characteristics of the kings. Based on this statement it
therefore stands to reason that the king praises cannot be considered merely as
a complete history of the Zulu kings. The data collection was carried out through
interviews and through reading books for each king.
It must be noted that the king praises are only performed by a bard/imbongi. The
king praises serve as a mirror that detects how the king live and perform the
duties of the nation.Thesis (M.A)-University of KwaZulu-Natal, 2007.
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Brown, Duncan John Bruce. « Orality, textuality and history : issues in South African oral poetry and performance ». Thesis, 1995. http://hdl.handle.net/10413/6364.
Texte intégralRésumé :
A vigorous oral tradition has existed throughout South African history, and in many ways
represents our truly original contribution to world literature. Despite this, oral literature is
largely absent from accounts of literary history in this country. While the particular oppressions
of South African political life have contributed to the exclusion of oral forms, the suppression of
the oral in favour of the printed text is a feature of literary studies worldwide, and appears to be
related to the critical practices that have been dominant in universities and schools for most of
this century. In this study I consider ways of recovering oral forms for literary debate, and offer
what I consider to be more appropriate strategies of 'reading'. My aim is to re-establish a line of
continuity in South African poetry and performance from the songs and stories of the Bushmen,
through the praise poems of the African chiefdoms, to the development of Christianised oral
forms, the adaptation of the oral tradition in 'Soweto' poetry of the 1970s, and the performance
of poems on political platforms in the 1980s.
Recovering oral poetry and performance genres for literary debate requires the
development of an appropriate critical methodology. Through a consideration of advances in the
study of orality, I aim to suggest ways of reading which grant credence to the specific strategies
and performative energies of oral texts while locating the texts in the spaces and constrictions of
their societies. A great many oral texts from the past survive only in printed, translated forms,
however, and a key aspect of such a critical project is how - while acknowledging the particular
difficulties involved - one 'uses' highly mediated and artificially stabilised print versions to
suggest something of the dynamic nature of oral performance in South African historical and
social life. This thesis also considers how texts address us across historical distances. I argue for
maintaining a dialectic between the 'past significance' and 'present meaning' of the poems, songs
and stories: for allowing the past to shape our reading while we remain aware that our
recuperation of history is inevitably directed by present needs and ideologies.
These ideas are explored through five chapters which consider, respectively, the songs and
stories of the nineteenth-century /Xam Bushmen, the izibongo of Shaka, the hymns of the
Messianic Zulu evangelist Isaiah Shembe, Ingoapele Madingoane's epic 'Soweto' poem "black
trial", and the performance poetry of Mzwakhe Mbuli and Alfred Qabula in the 1980s.Thesis (M.A.)-University of Natal, Durban, 1995.
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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.
Texte intégralRésumé :
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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Moshoetsi, Sifiso Ike. « Guns, spears and pens : the role of the Echo poems in the political conflict in the Natal Midlands ». Thesis, 2002. http://hdl.handle.net/10413/3719.
Texte intégralRésumé :
This thesis sets out to examine the role of the poems in Echo (a supplement to the Natal Witness) that were published between 1986 and 1994. I will be exploring these poems in the light of the political conflict that was taking place between Inkatha, on the one hand, and the United Democratic Front/Congress ofSouth African Trade Unions (UDF/COSATU), and later on the African National Congress (ANC), on the other.
The introductory chapter will deal with the scope ofmy research. It will outline what it is that I will be researching and the direction of my research. I will also begin to introduce some of the key theoretical assumptions around izibongo (praise poetry) and some of its key definitions as a
dominant tradition that influenced some of the Echo poets.
Chapter Two will deal with the history of the Echo Poetry Corner itself. It looks at its early beginnings, who conceived the idea and why, and what the editorial policy of this page was. It will also shed some light on how complex issues, such as the originality and authenticity of the poems,
were dealt with.
The third chapter deals with the background to the political conflict in the Natal Midlands and in Pietermaritzburg in particular. It will be an analysis of violence, its origins and its interpretations, and will show how violence affected the people and the poets around Pietermaritzburg.
In Chapter Four I will begin to critically analyse the poems, looking at various themes that were expressed in the poems. I will also define the role that these poems played in the political conflict, looking at whether they engaged with the reality of the time or tried to escape it.
In conclusion, Chapter Five deals with my findings on the role that the Echo poems played during the political conflict. It will also address the issue of the role of the poet or poetry in a violent society. The positive role of poetry during war will also be dealt with.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.
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Mkhombo, S. M. (Sibongile Margaret). « The status of indigenous music in the South African school curriculum with special reference to isiZulu ». Thesis, 2019. http://hdl.handle.net/10500/25896.
Texte intégralRésumé :
Text in EnglishThe research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase.
Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)
Livres sur le sujet "Zulu (folk)"
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Erlmann, Veit. Nightsong : Performance, power, and practice in South Africa. Chicago : University of Chicago Press, 1996.
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Arment, David. Wired : Contemporary Zulu telephone-wire baskets. Santa Fe, N.M : S/C Editions, 2005.
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Sheila, Hawkins, dir. Kunyenyeza esikhotheni. Pietermaritzburg : Shuter & Shooter, 2008.
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Mutwa, Credo Vusa'mazulu. Indaba, my children. New York : Grove Press, 1999.
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Wickström, Anette. Kärlek i virusets tid : Att hantera relationer och hälsa i Zululand. Linköping : Institutionen för medicin och hälsa, Linköpings universitet, 2008.
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Njoku, John E. Eberegbulam. S hort stories of the traditional people of Nigeria : African folks, back home. Lewiston, N.Y : E. Mellen Press, 1991.
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Snook, Mike. Like Wolves on the Fold : The Defence of Rorke's Drift. London : Frontline Books, 2010.
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Tayibai, A., To Badma et To Jamca. Takil Zula Xāni u̇ldel Tangsuq Bumba Xāni aći U̇ju̇ng aldar xāni kȯbu̇u̇n u̇yeyin ȯnȯćin Jangġariyin tuuli 1. [U̇ru̇mći] : Śinjiyang-giyin Aradiyin Keblel-in Xorō, 1986.
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Tayibai, A., To Badma et To Jamca. Takil Zula Xāni u̇ldel Tangsuq Bumba Xāni aći U̇ju̇ng aldar xāni kȯbu̇u̇n u̇yeyin ȯnȯćin Jangġariyin tuuli 2. [U̇ru̇mći] : Śinjiyang-giyin Aradiyin Keblel-in Xorō, 1987.
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Samuelson, L. H. Some Zulu Customs and Folk-Lore. Hesperides Press, 2006.
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