A critical appraisal of Saule’s portrayal of women as Amadelakufa (resilient)
- Authors: Molubo, Rendani
- Date: 2020
- Subjects: Women in literature , Feminism -- Africa , Saule, N -- Vuleka Mhlaba , Saule, N -- Inkululeko Isentabeni , Saule, N -- Libambe Lingatshoni , Xhosa fiction -- History and criticism
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/143982 , vital:38300
- Description: This study seeks to explore how Professor Ncedile Saule’s works Vuleka Mhlaba (2006), Inkululeko Isentabeni (2010) and Libambe Lingatshoni (2017), depict female characters to reveal the inner resilience women embody. It is important to portray females as bold, intelligent and courageous beings as African women are subjected to major patriarchal myths. South Africa prides itself with a progressive Constitution and Bill of Rights that speaks of gender equality and the liberation of all persons. However, in practice women still live under patriarchal bondages and their efforts are side-lined, thus, the essentiality of writings that contributes towards the empowerment of women through displaying their resilience. Women in literature are mostly depicted as subordinate, submissive and emotional. At times they are portrayed as victims. They are very seldom portrayed as heroes or independent beings. They are constantly placed behind a man instead of in front of a man. This research aims to display women as heroes in their own capacity, without having to be dimmed by a man. The researcher decided to utilise writings of a male author so as to provide a different perspective from the norm that most male authors are known to write about in issues pertaining female characters. This is also deliberately done to encourage more male writers to change the mythical narration about women and start admiring their contributions without having them shadow any man. The projection of female resilience through the gaze of a male author gives hope that there are men who see and admire women’s efforts. It also indicates that men realise now that African feminisms are not against men and instead advocate for equality between men and women and recognise the greatness that could come out of a partnership between the two genders. Women’s behaviour and characteristics are mostly socially constructed, hence the need to exhibit the boldness that black women possess, instead of them only being utilised as nurturing sources and household caretakers. One of the purposes of this research study is to illustrate the resilience that women possess and analyse the forms of torment that women in Saule’s chosen novels have experienced and how their experience engenders resilience and a determination to succeed. The women in Saule’s three novels selected for this study break the traditional status quo. The approach that this paper will utilize is that of African Feminisms, focusing on Walker’s Womanism, Ogunyemi’s Africana Womanism, and Stiwanism as the theoretical approaches. This is because African Feminisms concentrates on the issues related to gender, race and class that African women across spectrums face.
- Full Text:
- Authors: Molubo, Rendani
- Date: 2020
- Subjects: Women in literature , Feminism -- Africa , Saule, N -- Vuleka Mhlaba , Saule, N -- Inkululeko Isentabeni , Saule, N -- Libambe Lingatshoni , Xhosa fiction -- History and criticism
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/143982 , vital:38300
- Description: This study seeks to explore how Professor Ncedile Saule’s works Vuleka Mhlaba (2006), Inkululeko Isentabeni (2010) and Libambe Lingatshoni (2017), depict female characters to reveal the inner resilience women embody. It is important to portray females as bold, intelligent and courageous beings as African women are subjected to major patriarchal myths. South Africa prides itself with a progressive Constitution and Bill of Rights that speaks of gender equality and the liberation of all persons. However, in practice women still live under patriarchal bondages and their efforts are side-lined, thus, the essentiality of writings that contributes towards the empowerment of women through displaying their resilience. Women in literature are mostly depicted as subordinate, submissive and emotional. At times they are portrayed as victims. They are very seldom portrayed as heroes or independent beings. They are constantly placed behind a man instead of in front of a man. This research aims to display women as heroes in their own capacity, without having to be dimmed by a man. The researcher decided to utilise writings of a male author so as to provide a different perspective from the norm that most male authors are known to write about in issues pertaining female characters. This is also deliberately done to encourage more male writers to change the mythical narration about women and start admiring their contributions without having them shadow any man. The projection of female resilience through the gaze of a male author gives hope that there are men who see and admire women’s efforts. It also indicates that men realise now that African feminisms are not against men and instead advocate for equality between men and women and recognise the greatness that could come out of a partnership between the two genders. Women’s behaviour and characteristics are mostly socially constructed, hence the need to exhibit the boldness that black women possess, instead of them only being utilised as nurturing sources and household caretakers. One of the purposes of this research study is to illustrate the resilience that women possess and analyse the forms of torment that women in Saule’s chosen novels have experienced and how their experience engenders resilience and a determination to succeed. The women in Saule’s three novels selected for this study break the traditional status quo. The approach that this paper will utilize is that of African Feminisms, focusing on Walker’s Womanism, Ogunyemi’s Africana Womanism, and Stiwanism as the theoretical approaches. This is because African Feminisms concentrates on the issues related to gender, race and class that African women across spectrums face.
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A critique of translated (isiXhosa to English) sworn statements by the South African Police Service
- Authors: Mvabaza, Aviwe
- Date: 2020
- Subjects: Forensic linguistics , Translators -- South Africa , Xhosa language -- Translating , Police administration -- South Africa
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/122869 , vital:35361
- Description: The thesis provides a critique of sworn statement translations in the South African Police Service. The study is a mixed method study, which is rooted in Translation and Forensic Linguistics. It focuses on translations of two languages, IsiXhosa and English, an activity that was observed by the researcher at the Ndevana Police Station under the Buffalo City Municipality near King William’s Town in the Eastern Cape Province. In addition to the data collection strategies, among others, the study also collected data through the use of questionnaires responded to by the Ndevana Location’s community members. Furthermore, it used a method of consented interviews with the police officers. The main aim of these interviews was to unearth the police officers’ views on whether they require Translators and Forensic Linguists to assist them. Moreover, the other data collection strategy used was the consented recordings of verbal statements made by complainants, facilitated by the capturing of translated written dockets after the reporting of an incident. The police officers involved and who were available in the precinct were Constables, Sergeants, Detectives, Warrant officers and the Captain. The study period was 90 days, and the data presented in the form of graphs is contained in the relevant upcoming chapters. The findings of the study were that there was indeed a need for Translators and/or Forensic Linguists in the precinct, as the statistics revealed, by both the police officers and the community members. An analysis of the transcribed material, the interviews with the police and the verbal statements made by the complainants written by the police were evidence of the need for Translators and Forensic Linguists by the South African Police Services.
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- Authors: Mvabaza, Aviwe
- Date: 2020
- Subjects: Forensic linguistics , Translators -- South Africa , Xhosa language -- Translating , Police administration -- South Africa
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/122869 , vital:35361
- Description: The thesis provides a critique of sworn statement translations in the South African Police Service. The study is a mixed method study, which is rooted in Translation and Forensic Linguistics. It focuses on translations of two languages, IsiXhosa and English, an activity that was observed by the researcher at the Ndevana Police Station under the Buffalo City Municipality near King William’s Town in the Eastern Cape Province. In addition to the data collection strategies, among others, the study also collected data through the use of questionnaires responded to by the Ndevana Location’s community members. Furthermore, it used a method of consented interviews with the police officers. The main aim of these interviews was to unearth the police officers’ views on whether they require Translators and Forensic Linguists to assist them. Moreover, the other data collection strategy used was the consented recordings of verbal statements made by complainants, facilitated by the capturing of translated written dockets after the reporting of an incident. The police officers involved and who were available in the precinct were Constables, Sergeants, Detectives, Warrant officers and the Captain. The study period was 90 days, and the data presented in the form of graphs is contained in the relevant upcoming chapters. The findings of the study were that there was indeed a need for Translators and/or Forensic Linguists in the precinct, as the statistics revealed, by both the police officers and the community members. An analysis of the transcribed material, the interviews with the police and the verbal statements made by the complainants written by the police were evidence of the need for Translators and Forensic Linguists by the South African Police Services.
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Uphicotho lweencwadi zabantwana ezikhethiweyo eziguqulelwe esiXhoseni
- Authors: Madolo, Yolisa
- Date: 2020
- Subjects: Children's literature, South African , Xhosa fiction -- Juvenile literature , Xhosa language -- Juvenile literature , Translating and interpreting in literature , Xhosa literature , Xhosa language -- Translating
- Language: Xhosa
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/150515 , vital:38981
- Description: Appraisal of African languages’ children’s literature and its translation seems to be developing at a slow pace. This literary genre seems to be the last on the literary critics’ list. As a result, children’s literature translators seem to do as they please, with no fear that there is someone to critique the work. Translation for children is more than just literary translation, because it is meant for a special audience, whose language skills are still developing. The translator, therefore, needs to be someone dedicated in target language development. This translation needs a translator with a deep knowledge of both the source and target languages and their cultures. This will result in a translation that is readable and acceptable in the target language. The aim of this study was to critically analyse 20 selected isiXhosa translated stories, looking at how they have been translated in order to sound original in the target language. A sample of five stories were taken and analysed looking at their macrostructure. The findings of the analysis were that the isiXhosa stories resembled the English ones. Even the equivalence of the translated versions showed that the translation transferred the message in the source texts. However there were challenges as indicated. The study was done using Skopos theory, which advocates for the translator to always keep their audience in mind. It suggests that the translator should always strive for a translation that is acceptable to the target language. Various strategies can be used by the translator to fulfil this. Some of the strategies found to have been used in the translations are adaptation through omission, addition, addition of target culture specific terms, and changing sentence mode. Generally, the source language message seems to have been successfully transferred to the target language. However, errors in some stories were a cause for concern, as they could deter the target reader’s interest in the stories. Such errors are spelling mistakes, word division errors, incorrect concord use, etc. These errors are a matter of concern in literature, more especially children’s literature where children are still developing their reading skills.
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- Authors: Madolo, Yolisa
- Date: 2020
- Subjects: Children's literature, South African , Xhosa fiction -- Juvenile literature , Xhosa language -- Juvenile literature , Translating and interpreting in literature , Xhosa literature , Xhosa language -- Translating
- Language: Xhosa
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/150515 , vital:38981
- Description: Appraisal of African languages’ children’s literature and its translation seems to be developing at a slow pace. This literary genre seems to be the last on the literary critics’ list. As a result, children’s literature translators seem to do as they please, with no fear that there is someone to critique the work. Translation for children is more than just literary translation, because it is meant for a special audience, whose language skills are still developing. The translator, therefore, needs to be someone dedicated in target language development. This translation needs a translator with a deep knowledge of both the source and target languages and their cultures. This will result in a translation that is readable and acceptable in the target language. The aim of this study was to critically analyse 20 selected isiXhosa translated stories, looking at how they have been translated in order to sound original in the target language. A sample of five stories were taken and analysed looking at their macrostructure. The findings of the analysis were that the isiXhosa stories resembled the English ones. Even the equivalence of the translated versions showed that the translation transferred the message in the source texts. However there were challenges as indicated. The study was done using Skopos theory, which advocates for the translator to always keep their audience in mind. It suggests that the translator should always strive for a translation that is acceptable to the target language. Various strategies can be used by the translator to fulfil this. Some of the strategies found to have been used in the translations are adaptation through omission, addition, addition of target culture specific terms, and changing sentence mode. Generally, the source language message seems to have been successfully transferred to the target language. However, errors in some stories were a cause for concern, as they could deter the target reader’s interest in the stories. Such errors are spelling mistakes, word division errors, incorrect concord use, etc. These errors are a matter of concern in literature, more especially children’s literature where children are still developing their reading skills.
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Sepedi oral poetry with reference to kiba traditional dance of South Africa
- Authors: Maahlamela, Tebogo David
- Date: 2018
- Subjects: Northern Sotho poetry , Northern Sotho poetry -- History and criticism , Folk songs, Northern Sotho , Sound poetry -- South Africa , Archival materials -- Conservation and restoration , Spiritualism in literature , Cultural appropriation , Folk poetry, Northern Sotho , Kiba traditional dance , Kiba poetry
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/63209 , vital:28381
- Description: Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
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- Authors: Maahlamela, Tebogo David
- Date: 2018
- Subjects: Northern Sotho poetry , Northern Sotho poetry -- History and criticism , Folk songs, Northern Sotho , Sound poetry -- South Africa , Archival materials -- Conservation and restoration , Spiritualism in literature , Cultural appropriation , Folk poetry, Northern Sotho , Kiba traditional dance , Kiba poetry
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/63209 , vital:28381
- Description: Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
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Nontsizi Mgqwetho’s the nation’s bounty: a prophetic voice towards an African literary theory
- Authors: Nxasana, Thulani
- Date: 2017
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/4547 , vital:20687
- Description: This thesis seeks to examine the ways in which Africans and African scholarship in particular have relied on the West to lead the way in scientific inquiry, theory and ways of approaching literary texts thus the stunting effects of this in the growth and development of uniquely African literary scholarship and theorising. In his seminal work, Decolonising the Mind, Wa Thiong’o (1987a) stresses that “...how we view ourselves, our environment even, is very much dependent on where we stand in relationship to imperialism in its colonial and neocolonial stages; that if we are to do anything about our individual and collective being today, then we have to coldly and consciously look at what imperialism has been doing to us and to our view of ourselves in the universe” (Wa Thiong’o, 1987a, p.88). Although most African countries obtained their liberation decades ago, seemingly western cultural imperialism still dominates and plagues the African psyche; hence they largely look to the West and ways of the West for established and emergent theoretical conceptions. This thesis aims to interrogate popular western literary theories unquestioningly used to analyse African works, particularly feminism and post-colonial theory; furthermore, to show crucial factors not taken into account such as the evolving power dynamics in African societies, the role of the “sacred” or spirituality which often forms and informs the dynamics of the text, and lastly, based on the poetry of Nontsizi Mgqwetho, to advocate for the need for an African literary theory and put forward the essential tenets of such a theory. The poetry of Xhosa poet, Nontsizi Mgqwetho, is used to analyse the complexities and dynamics of African literary production written in African languages; her poetry is written in isiXhosa to a Xhosa audience, a far cry from the assumption that African literary texts are concerned with writing to the “centre” as post-colonial theorists claim. Her work explicitly provides Africans with an approach to overcome territorial and cultural imperialism; she sees within the African psyche and traditional values empowering modes of resistance against any type of domination and through her poetry illustrates meaningful ways that Africans can critically engage with and examine the positives and negatives of cultural exchange and or assimilation, and the effects thereof while at the same time remaining proudly Africa.
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- Authors: Nxasana, Thulani
- Date: 2017
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/4547 , vital:20687
- Description: This thesis seeks to examine the ways in which Africans and African scholarship in particular have relied on the West to lead the way in scientific inquiry, theory and ways of approaching literary texts thus the stunting effects of this in the growth and development of uniquely African literary scholarship and theorising. In his seminal work, Decolonising the Mind, Wa Thiong’o (1987a) stresses that “...how we view ourselves, our environment even, is very much dependent on where we stand in relationship to imperialism in its colonial and neocolonial stages; that if we are to do anything about our individual and collective being today, then we have to coldly and consciously look at what imperialism has been doing to us and to our view of ourselves in the universe” (Wa Thiong’o, 1987a, p.88). Although most African countries obtained their liberation decades ago, seemingly western cultural imperialism still dominates and plagues the African psyche; hence they largely look to the West and ways of the West for established and emergent theoretical conceptions. This thesis aims to interrogate popular western literary theories unquestioningly used to analyse African works, particularly feminism and post-colonial theory; furthermore, to show crucial factors not taken into account such as the evolving power dynamics in African societies, the role of the “sacred” or spirituality which often forms and informs the dynamics of the text, and lastly, based on the poetry of Nontsizi Mgqwetho, to advocate for the need for an African literary theory and put forward the essential tenets of such a theory. The poetry of Xhosa poet, Nontsizi Mgqwetho, is used to analyse the complexities and dynamics of African literary production written in African languages; her poetry is written in isiXhosa to a Xhosa audience, a far cry from the assumption that African literary texts are concerned with writing to the “centre” as post-colonial theorists claim. Her work explicitly provides Africans with an approach to overcome territorial and cultural imperialism; she sees within the African psyche and traditional values empowering modes of resistance against any type of domination and through her poetry illustrates meaningful ways that Africans can critically engage with and examine the positives and negatives of cultural exchange and or assimilation, and the effects thereof while at the same time remaining proudly Africa.
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The life and literary works of Peter Tshobiso Mtuze: a critical analysis
- Authors: Mafrika, Andile Ernest
- Date: 2017
- Subjects: Mtuze, P T -- Criticism and interpretation , Mtuze, P T -- UDingezweni , Mtuze, P T -- Alitshoni lingaphumi , Mtuze, P T -- Amathol’ eendaba. , Authors, Xhosa , Xhosa literature -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/4400 , vital:20658
- Description: This thesis is an exploration of the concept of Mphahlele’s African Humanism, against the backdrop of the life and work of Peter Tshobiso Mtuze, well-known author of isiXhosa books, critic, academic and spiritual leader. Mtuze’s commitment to the collective rather than the individual is clearly illustrated in the thesis, suggesting that his early life of struggle, his belated development as an acclaimed academic, as well as his spiritual growth are all intertwined and underpinned by African Humanism and an Afrocentric ethos.The thesis consists of six chapters with each chapter focusing on a particular aspect of the research topic. Chapter One deals with the introduction to the research topic. Part of the introductory material consists of conventional preliminaries such as a research statement, aim of study, methodology, main assumptions of the study and the significance and benefit of the study. Chapter Two is the theoretical foundation of the thesis. It covers the origin of African Humanism as consciousness and as a system of society, oral and written literature in Africa and the early Xhosa literary humanism. Chapter Three is an overview of the biographical background of Peter Tshobiso Mtuze, his Pass Law battles in different towns of South Africa, how he joined the African National Congress (ANC) and his working life and writing life. Chapter Four analyses two major novels, UDingezweni and Alitshoni lingaphumi, and a short story book, Amathol’ eendaba. The analysis aims at revealing African consciousness and African way of life with specific reference to Xhosa people. Chapter Five deals with Xhosa spirituality, its aspects and symbols, Mtuze’s Spirituality and Anglicanism and his writings. Chapter Six is a general conclusion that highlights the main aspects of the thesis, the African personality and the prospects of African humanism in today’s world.
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- Authors: Mafrika, Andile Ernest
- Date: 2017
- Subjects: Mtuze, P T -- Criticism and interpretation , Mtuze, P T -- UDingezweni , Mtuze, P T -- Alitshoni lingaphumi , Mtuze, P T -- Amathol’ eendaba. , Authors, Xhosa , Xhosa literature -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/4400 , vital:20658
- Description: This thesis is an exploration of the concept of Mphahlele’s African Humanism, against the backdrop of the life and work of Peter Tshobiso Mtuze, well-known author of isiXhosa books, critic, academic and spiritual leader. Mtuze’s commitment to the collective rather than the individual is clearly illustrated in the thesis, suggesting that his early life of struggle, his belated development as an acclaimed academic, as well as his spiritual growth are all intertwined and underpinned by African Humanism and an Afrocentric ethos.The thesis consists of six chapters with each chapter focusing on a particular aspect of the research topic. Chapter One deals with the introduction to the research topic. Part of the introductory material consists of conventional preliminaries such as a research statement, aim of study, methodology, main assumptions of the study and the significance and benefit of the study. Chapter Two is the theoretical foundation of the thesis. It covers the origin of African Humanism as consciousness and as a system of society, oral and written literature in Africa and the early Xhosa literary humanism. Chapter Three is an overview of the biographical background of Peter Tshobiso Mtuze, his Pass Law battles in different towns of South Africa, how he joined the African National Congress (ANC) and his working life and writing life. Chapter Four analyses two major novels, UDingezweni and Alitshoni lingaphumi, and a short story book, Amathol’ eendaba. The analysis aims at revealing African consciousness and African way of life with specific reference to Xhosa people. Chapter Five deals with Xhosa spirituality, its aspects and symbols, Mtuze’s Spirituality and Anglicanism and his writings. Chapter Six is a general conclusion that highlights the main aspects of the thesis, the African personality and the prospects of African humanism in today’s world.
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Transcription, edition, translation and critical analysis of biographical poems contributed by S E K Mqhayi to early IsiXhosa newspapers
- Authors: Mazwi, Ntombomzi R
- Date: 2017
- Subjects: Mqhayi, S E K -- Criticism and interpretation , Mqhayi, S E K -- Translations , Xhosa language -- Transcription , Xhosa poetry -- History and criticism , Xhosa poetry -- Translations
- Language: English , Xhosa
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/18570 , vital:22356
- Description: During the nineteenth century secular creative literature produced by missionaries and publishers was designed for the educational market and for school children and there was nothing for adults. Works of isiXhosa literature was controlled in content and freely edited by the missionaries to satisfy the demands of educational syllabuses. As a result, students at universities, scholars of literature and academics in higher education are lacking primary documents on this literature and therefore are forced to study the limited and unavailable literature books. This thesis concentrates on the work of a particular isiXhosa writer, namely that of S.E.K. Mqhayi. The earlier writers like S.E.K. Mqhayi, J.J.R. Jolobe, G.B. Sinxo and others made their mark in South African literature and culture. Their works were published in journals and newspapers in isiXhosa by the missionaries. This means isiXhosa literature can be found in abundance in the earlier newspapers. What needs to be addressed is how the South African community and literature scholars mentioned above could have access to that work. Mqhayi is well known as the father of the isiXhosa language because of his substantial literary and linguistic contribution to the development of the language. As already mentioned he made his contribution through written work which was published in various newspapers of his time and unfortunately most people are unable to access this material, hence the focus of this thesis. The vast majority of his journalism remains as yet uncollected. However, scholars like Opland (1983) and Saule (1989) made some effort to bring this information to the public through their extensive research. S.E.K. Mqhayi’s popular poems have been published and analyzed over the last century and more recently (Qangule 1979; Kuse 1979; Opland 1983; Saule 1989 & 1996; Ntuli & Swanepoel 1993 and Opland 2009). However, in terms of quantity and value, these are negligible compared to what Mqhayi has published. There are still numerous of Mqhayi’s poems that would add value to the study and history of isiXhosa literature. The main aim of this research is to carry on from where these scholars left off and to bring to the fore the legacy Mqhayi left to the South African people. Hence, thirty (30) poems on people by S.E.K. Mqhayi have been transcribed from the old newspapers, re- typed, translated into English and analysed. These poems are largely published in newspapers but have never been subsequently republished, and hence they are almost completely unknown. The thirty (30) poems have been selected with the assistance of Professor Jeff Opland, a retired Professor from the University of London’s School of Oriental and African Studies (SOAS). The poems are from his Opland Collection of Xhosa Literature housed in Godalming, United Kingdom. They are presented in the manner in which they appeared originally, that is, in terms of isiXhosa orthography during the times of Mqhayi’s writing (Diplomatic Presentation). The data is analysed and discussed in relation to how Mqhayi’s biographical poems can give insight not only to Mqhayi’s subjects of praise, but into how he uses historical, political and sociocultural contexts in the praises of his subjects, meaning that the discussion revolves around the practice of the Historical-Biographical Criticism. The poems are translated into English to allow for this literature not only to be disseminated among isiXhosa speakers, but also to speakers of other languages who understand English. The translation method chosen is the one believed to produce the originality of the source text and sameness of meaning in the target text which is regarded as equivalence. This thesis therefore is an investigation into 30 poems selected from biographical poems written by S.E.K. Mqhayi in newspapers during the period 1899-1944. In essence this thesis presents an in-depth analysis of Mqhayi’s poems against the backdrop of oral literary theory as expounded by theorists who have grappled with the orality-literacy debate, a debate which directly informs Mqhayi’s poetry as he was the first oral poet to transition between orality and literacy. , Uncwadi oluveliswe kwishumi elinesithoba lamakhulu eminyaka ziimishinari nabapapashi lwalwenzelwe izifundiswa kunye nabantwana besikolo kwaye akukho msebenzi mninzi ofumanekayo owawenzelwe abantu basekuhlaleni. Umsebenzi omninzi wokubhaliweyo kuncwadi lwesiXhosa wawulawulwa, uhlelwa kwaye ulungiselelwa uqingqo lwezifundo. Oko ke kuye kwabangela ukuba abafundi abakumaziko emfundo ephakamileyo, iimfundi zoncwadi kunye nabahlohli zingabinawo amaxwebhu okwenene oncwadi lwesiXhosa, kwaye loo nto yenza ukuba kufundwe kwaye kwenziwe uphando ngeencwadi ezimbalwa. Olu phando ke ngoko luza kuqwalasela lugxininise kumsebenzi wombhali wesiXhosa onguS.E.K. Mqhayi. Ababhali bangaphambili abafana noo-S.E.K. Mqhayi, J.J.R. Jolobe, G.B. Sinxo nabanye bashiya ifuthe elikhulu kuncwadi nenkcubeko yoMzantsi Afrika. Imisebenzi yabo yayipapashwe ziimishinari ngesiXhosa kuluhlu lwemibhalo namaphephandaba. Oko ke kuthetha ukuthi le misebenzi yesiXhosa iyafumaneka kumaphepha-ndaba angaphambili. Okufuneka kulungisiwe yindlela abemi boMzantsi Afrika kunye nezi mfundi zoncwadi zikhankanywe ngentla zingathi ziwufumane lo msebenzi waba babhali bangaphambili. UMqhayi waziwa ngokuba yinkcuba- buchopho yolwimi lwesiXhosa kwaye udlale indima enkulu kakhulu ekuphuhliseni ulwimi lwesiXhosa. Njengokuba sele ikhankanyiwe ngentla, umsebenzi wakhe upapashwe kumaphephandaba awohlukeneyo wela xesha wayesaphila kwaye kungelishwa ke ukuba abantu abaninzi abakwazi ukuwufumana loo msebenzi. Eminye yemisebenzi yakhe emininzi ke kodwa ayiqokelelwanga. Iingcali ezifana noo-Opland (1983) noSaule (1989) zaye zenza uphando olukhulu zizama ukuzisa olu lwazi eluntwini, kodwa oko akwanelanga. Kwiminyaka edlulileyo imibongo edumileyo ka-S.E.K. Mqhayi sele yapapashwa (Qangule, 1979; Kuse, 1979; Opland, 1983 & 2009; Saule, 1989 & 1996; Ntuli & Swanepoel, 1993). Nangona kunjalo ke isekhona eminye imibongo kaMqhayi engekaveli nenokuthi ibe nenxaxheba kakhulu ekufundeni nasekufundiseni uncwadi lwesiXhosa. Olu phando ke kukuqhubeka apho aba babhali bakhankanyiweyo bayeke khona ukuzisa phambili umsebenzi nelifa elashiywa nguMqhayi kubemi baseMzantsi Afrika. Kungoko ke imibongo engabantu engama-30 kaMqhayi iza kuthi ikhutshelwe isuka kumaphephandaba akudala, iguqulelwe esiNgesini ze ihlahlelwe. Uninzi lwale mibongo ipapashwe kumaphephandaba akudala kwaye zange iphinde ipapashwe kwenye indawo, kungoko ke ingaziwa kakhulu. Ukukhethwa kwale mibongo ingama-30 kuncediswe nguNjingalwazi uJeff Opland, uNjingalwazi odla umhlala-phantsi weYunivesithi yase-London kwiSikolo seZifundo ngezaseAfrika naseMpumalanga (SOAS). Le mibongo isuka kuluhlu lwakhe athe waluqokelela nolubizwa ngokuba yi-Opland Collection of Xhosa Literature oluse- Godalming, e-United Kingdom. Indlela le mibongo eza kuthi ibhalwe ngayo yileyo uMqhayi wayeyibhale ngayo ngexesha lakhe. Le mibongo ihleliwe kwaye oko kubhaliweyo malunga nayo kuquka indlela apho imibongo kaMqhayi ngobomi babantu kuthi kubonise indlela abonga nabonisa ngayo izinto zoPolitiko, zakudala nezasekuhlaleni ezazisenzeka ngela xesha. Indlela ethi konke oku kuthi kuvele kule mibongo kaMqhayi kwaye kuya kuthi kuvezwe kolu phando. Ukuguqulelwa kwale mibongo esiNgesini kuya kuthi kuncede ukuba nabo bangasithethiyo isiXhosa bakwazi ukufumana le mibongo. Indlela esetyenzisiweyo yoguqulo-lwimi yale mibongo yileyo ivumela ukuba umbhalo uguqulelwe ngokufanayo nombhalo-ntsusa kwaye intsingiselo kumbhalo ekuguqulelwa kuwo ingatshintshi. Lo misebenzi ke ngoko uluphando lwemibongo engabantu ekhethiweyo engama30 ebhalwe nguSEK Mqhayi kumaphephandaba kwimiminyaka u1899 - 1944. Umongo wolu phando kukwenza uhlalutyo - nzulu lwemibongo kaMqhayi eyaleka kuphando - lwazi osele lwenziwe njengoko lucaciswa ziingcali ezithe zazamana nengxoxo yoncwadi lomlomo, ngxoxo leyo ethe yachaphazela ngokumandla umongo wezibongo zikaMqhayi njengembongi yokuqala ukuwela ukusuka kuncwadi lomlomo ukuya kuncwadi olubhaliweyo.
- Full Text:
- Authors: Mazwi, Ntombomzi R
- Date: 2017
- Subjects: Mqhayi, S E K -- Criticism and interpretation , Mqhayi, S E K -- Translations , Xhosa language -- Transcription , Xhosa poetry -- History and criticism , Xhosa poetry -- Translations
- Language: English , Xhosa
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/18570 , vital:22356
- Description: During the nineteenth century secular creative literature produced by missionaries and publishers was designed for the educational market and for school children and there was nothing for adults. Works of isiXhosa literature was controlled in content and freely edited by the missionaries to satisfy the demands of educational syllabuses. As a result, students at universities, scholars of literature and academics in higher education are lacking primary documents on this literature and therefore are forced to study the limited and unavailable literature books. This thesis concentrates on the work of a particular isiXhosa writer, namely that of S.E.K. Mqhayi. The earlier writers like S.E.K. Mqhayi, J.J.R. Jolobe, G.B. Sinxo and others made their mark in South African literature and culture. Their works were published in journals and newspapers in isiXhosa by the missionaries. This means isiXhosa literature can be found in abundance in the earlier newspapers. What needs to be addressed is how the South African community and literature scholars mentioned above could have access to that work. Mqhayi is well known as the father of the isiXhosa language because of his substantial literary and linguistic contribution to the development of the language. As already mentioned he made his contribution through written work which was published in various newspapers of his time and unfortunately most people are unable to access this material, hence the focus of this thesis. The vast majority of his journalism remains as yet uncollected. However, scholars like Opland (1983) and Saule (1989) made some effort to bring this information to the public through their extensive research. S.E.K. Mqhayi’s popular poems have been published and analyzed over the last century and more recently (Qangule 1979; Kuse 1979; Opland 1983; Saule 1989 & 1996; Ntuli & Swanepoel 1993 and Opland 2009). However, in terms of quantity and value, these are negligible compared to what Mqhayi has published. There are still numerous of Mqhayi’s poems that would add value to the study and history of isiXhosa literature. The main aim of this research is to carry on from where these scholars left off and to bring to the fore the legacy Mqhayi left to the South African people. Hence, thirty (30) poems on people by S.E.K. Mqhayi have been transcribed from the old newspapers, re- typed, translated into English and analysed. These poems are largely published in newspapers but have never been subsequently republished, and hence they are almost completely unknown. The thirty (30) poems have been selected with the assistance of Professor Jeff Opland, a retired Professor from the University of London’s School of Oriental and African Studies (SOAS). The poems are from his Opland Collection of Xhosa Literature housed in Godalming, United Kingdom. They are presented in the manner in which they appeared originally, that is, in terms of isiXhosa orthography during the times of Mqhayi’s writing (Diplomatic Presentation). The data is analysed and discussed in relation to how Mqhayi’s biographical poems can give insight not only to Mqhayi’s subjects of praise, but into how he uses historical, political and sociocultural contexts in the praises of his subjects, meaning that the discussion revolves around the practice of the Historical-Biographical Criticism. The poems are translated into English to allow for this literature not only to be disseminated among isiXhosa speakers, but also to speakers of other languages who understand English. The translation method chosen is the one believed to produce the originality of the source text and sameness of meaning in the target text which is regarded as equivalence. This thesis therefore is an investigation into 30 poems selected from biographical poems written by S.E.K. Mqhayi in newspapers during the period 1899-1944. In essence this thesis presents an in-depth analysis of Mqhayi’s poems against the backdrop of oral literary theory as expounded by theorists who have grappled with the orality-literacy debate, a debate which directly informs Mqhayi’s poetry as he was the first oral poet to transition between orality and literacy. , Uncwadi oluveliswe kwishumi elinesithoba lamakhulu eminyaka ziimishinari nabapapashi lwalwenzelwe izifundiswa kunye nabantwana besikolo kwaye akukho msebenzi mninzi ofumanekayo owawenzelwe abantu basekuhlaleni. Umsebenzi omninzi wokubhaliweyo kuncwadi lwesiXhosa wawulawulwa, uhlelwa kwaye ulungiselelwa uqingqo lwezifundo. Oko ke kuye kwabangela ukuba abafundi abakumaziko emfundo ephakamileyo, iimfundi zoncwadi kunye nabahlohli zingabinawo amaxwebhu okwenene oncwadi lwesiXhosa, kwaye loo nto yenza ukuba kufundwe kwaye kwenziwe uphando ngeencwadi ezimbalwa. Olu phando ke ngoko luza kuqwalasela lugxininise kumsebenzi wombhali wesiXhosa onguS.E.K. Mqhayi. Ababhali bangaphambili abafana noo-S.E.K. Mqhayi, J.J.R. Jolobe, G.B. Sinxo nabanye bashiya ifuthe elikhulu kuncwadi nenkcubeko yoMzantsi Afrika. Imisebenzi yabo yayipapashwe ziimishinari ngesiXhosa kuluhlu lwemibhalo namaphephandaba. Oko ke kuthetha ukuthi le misebenzi yesiXhosa iyafumaneka kumaphepha-ndaba angaphambili. Okufuneka kulungisiwe yindlela abemi boMzantsi Afrika kunye nezi mfundi zoncwadi zikhankanywe ngentla zingathi ziwufumane lo msebenzi waba babhali bangaphambili. UMqhayi waziwa ngokuba yinkcuba- buchopho yolwimi lwesiXhosa kwaye udlale indima enkulu kakhulu ekuphuhliseni ulwimi lwesiXhosa. Njengokuba sele ikhankanyiwe ngentla, umsebenzi wakhe upapashwe kumaphephandaba awohlukeneyo wela xesha wayesaphila kwaye kungelishwa ke ukuba abantu abaninzi abakwazi ukuwufumana loo msebenzi. Eminye yemisebenzi yakhe emininzi ke kodwa ayiqokelelwanga. Iingcali ezifana noo-Opland (1983) noSaule (1989) zaye zenza uphando olukhulu zizama ukuzisa olu lwazi eluntwini, kodwa oko akwanelanga. Kwiminyaka edlulileyo imibongo edumileyo ka-S.E.K. Mqhayi sele yapapashwa (Qangule, 1979; Kuse, 1979; Opland, 1983 & 2009; Saule, 1989 & 1996; Ntuli & Swanepoel, 1993). Nangona kunjalo ke isekhona eminye imibongo kaMqhayi engekaveli nenokuthi ibe nenxaxheba kakhulu ekufundeni nasekufundiseni uncwadi lwesiXhosa. Olu phando ke kukuqhubeka apho aba babhali bakhankanyiweyo bayeke khona ukuzisa phambili umsebenzi nelifa elashiywa nguMqhayi kubemi baseMzantsi Afrika. Kungoko ke imibongo engabantu engama-30 kaMqhayi iza kuthi ikhutshelwe isuka kumaphephandaba akudala, iguqulelwe esiNgesini ze ihlahlelwe. Uninzi lwale mibongo ipapashwe kumaphephandaba akudala kwaye zange iphinde ipapashwe kwenye indawo, kungoko ke ingaziwa kakhulu. Ukukhethwa kwale mibongo ingama-30 kuncediswe nguNjingalwazi uJeff Opland, uNjingalwazi odla umhlala-phantsi weYunivesithi yase-London kwiSikolo seZifundo ngezaseAfrika naseMpumalanga (SOAS). Le mibongo isuka kuluhlu lwakhe athe waluqokelela nolubizwa ngokuba yi-Opland Collection of Xhosa Literature oluse- Godalming, e-United Kingdom. Indlela le mibongo eza kuthi ibhalwe ngayo yileyo uMqhayi wayeyibhale ngayo ngexesha lakhe. Le mibongo ihleliwe kwaye oko kubhaliweyo malunga nayo kuquka indlela apho imibongo kaMqhayi ngobomi babantu kuthi kubonise indlela abonga nabonisa ngayo izinto zoPolitiko, zakudala nezasekuhlaleni ezazisenzeka ngela xesha. Indlela ethi konke oku kuthi kuvele kule mibongo kaMqhayi kwaye kuya kuthi kuvezwe kolu phando. Ukuguqulelwa kwale mibongo esiNgesini kuya kuthi kuncede ukuba nabo bangasithethiyo isiXhosa bakwazi ukufumana le mibongo. Indlela esetyenzisiweyo yoguqulo-lwimi yale mibongo yileyo ivumela ukuba umbhalo uguqulelwe ngokufanayo nombhalo-ntsusa kwaye intsingiselo kumbhalo ekuguqulelwa kuwo ingatshintshi. Lo misebenzi ke ngoko uluphando lwemibongo engabantu ekhethiweyo engama30 ebhalwe nguSEK Mqhayi kumaphephandaba kwimiminyaka u1899 - 1944. Umongo wolu phando kukwenza uhlalutyo - nzulu lwemibongo kaMqhayi eyaleka kuphando - lwazi osele lwenziwe njengoko lucaciswa ziingcali ezithe zazamana nengxoxo yoncwadi lomlomo, ngxoxo leyo ethe yachaphazela ngokumandla umongo wezibongo zikaMqhayi njengembongi yokuqala ukuwela ukusuka kuncwadi lomlomo ukuya kuncwadi olubhaliweyo.
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A century of IsiXhosa written poetry and the ideological contest in South Africa
- Authors: Mona, Godfrey Vulindlela
- Date: 2015
- Subjects: Xhosa poetry -- History and criticism , Protest poetry, Xhosa , Ideology and literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3651 , http://hdl.handle.net/10962/d1017892
- Description: The central argument of this inter-disciplinary study is that IsiXhosa written poetry of 1912 – 2012 is a terrain of the struggle between the contending dominant ideologies of Segregation, Apartheid and Charterism (post-Apartheid); and the subordinate/ subaltern ideologies of Africanism, Charterism (pre-democracy), Pan- Africanism, Black Consciousness Movement and other post Apartheid ideologies. The study highlights the mutual relationship between the text and the context by focussing on the ideological contest which manifests itself in both form and structure (i.e. aesthetic ideology) and the content (i.e. authorial ideology) of the poetry of different epochs between 1912 and 2012. The study is located within the framework of Antonio Gramsci’s theory of cultural construction. Gramsci postulates that ideology and culture play a significant role in the process of asserting hegemony. Important concepts that constitute Gramsci’s theory of praxis are: ideology, culture, hegemony, organic intellectuals and both ideological and repressive state apparatuses. The first chapter presents the problem, the objectives, the methodology, and the scope of the study. The second chapter presents Gramsci’s theory of cultural construction and the work of scholars who developed his theory further. The tool that is employed for analysis and interpretation of textual significations of IsiXhosa written poetry is the revolutionary aesthetics, which is proposed by Udenta. The third chapter analyses and interprets literature of the epoch of 1912-1934 and exposes the contest between Segregation and Africanism ideologies. The fourth chapter contextualises and analyses the literature of 1934 – 1948, the second phase of contestation between Segregation and Africanism. The fifth chapter deals with literature of the first and second halves of the Apartheid epoch (1948 - 1973). The Apartheid ideology contested with the Africanist ideology which transformed into the Charterism ideology in 1955. In 1960 Pan-Africanism ideology and in 1969 Black Consciousness Movement ideologies entered the contest. The sixth chapter examines literature of the period 1973 – 1994 which is the second phase of the Apartheid epoch that ends with the “glasnost” period of 1990 - 1994. The seventh chapter studies literature of the democracy period of 1994 – 2012. The eighth chapter is the summary and general conclusion. The illumination of the nexus between culture and ideology during the past century (1912 - 2012) will provide insights that will assist us in addressing the challenges we face during the democracy period, and in the development on Arts and Culture in general, and literature in particular
- Full Text:
- Authors: Mona, Godfrey Vulindlela
- Date: 2015
- Subjects: Xhosa poetry -- History and criticism , Protest poetry, Xhosa , Ideology and literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3651 , http://hdl.handle.net/10962/d1017892
- Description: The central argument of this inter-disciplinary study is that IsiXhosa written poetry of 1912 – 2012 is a terrain of the struggle between the contending dominant ideologies of Segregation, Apartheid and Charterism (post-Apartheid); and the subordinate/ subaltern ideologies of Africanism, Charterism (pre-democracy), Pan- Africanism, Black Consciousness Movement and other post Apartheid ideologies. The study highlights the mutual relationship between the text and the context by focussing on the ideological contest which manifests itself in both form and structure (i.e. aesthetic ideology) and the content (i.e. authorial ideology) of the poetry of different epochs between 1912 and 2012. The study is located within the framework of Antonio Gramsci’s theory of cultural construction. Gramsci postulates that ideology and culture play a significant role in the process of asserting hegemony. Important concepts that constitute Gramsci’s theory of praxis are: ideology, culture, hegemony, organic intellectuals and both ideological and repressive state apparatuses. The first chapter presents the problem, the objectives, the methodology, and the scope of the study. The second chapter presents Gramsci’s theory of cultural construction and the work of scholars who developed his theory further. The tool that is employed for analysis and interpretation of textual significations of IsiXhosa written poetry is the revolutionary aesthetics, which is proposed by Udenta. The third chapter analyses and interprets literature of the epoch of 1912-1934 and exposes the contest between Segregation and Africanism ideologies. The fourth chapter contextualises and analyses the literature of 1934 – 1948, the second phase of contestation between Segregation and Africanism. The fifth chapter deals with literature of the first and second halves of the Apartheid epoch (1948 - 1973). The Apartheid ideology contested with the Africanist ideology which transformed into the Charterism ideology in 1955. In 1960 Pan-Africanism ideology and in 1969 Black Consciousness Movement ideologies entered the contest. The sixth chapter examines literature of the period 1973 – 1994 which is the second phase of the Apartheid epoch that ends with the “glasnost” period of 1990 - 1994. The seventh chapter studies literature of the democracy period of 1994 – 2012. The eighth chapter is the summary and general conclusion. The illumination of the nexus between culture and ideology during the past century (1912 - 2012) will provide insights that will assist us in addressing the challenges we face during the democracy period, and in the development on Arts and Culture in general, and literature in particular
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Curriculum outcomes, teaching practices and learner competencies in isiXhosa in three Grahamstown schools
- Authors: Fobe, Mila Pamella
- Date: 2014
- Subjects: Xhosa language -- Study and teaching (Primary) -- South Africa -- Grahamstown Xhosa language -- Study and teaching (Secondary) -- South Africa -- Grahamstown Language and education -- South Africa -- Grahamstown Curriculum planning Second language acquisition Public schools -- South Africa -- Grahamstown Language policy -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3630 , http://hdl.handle.net/10962/d1012072
- Description: This study looks at the curriculum outcomes, teaching practices and learner competencies in isiXhosa at three Eastern Cape schools and across three different grades, 7-9. It explores the link between language learning and teaching as well as the teaching strategies used within the classroom. In particular, the study seeks to analyse how isiXhosa is taught at three different levels of instruction, namely at Home Language (HL), First Additional Language (FAL) and Second Additional Language (SAL) levels. Qualitative methods were used, and the study took the form of interpretive case studies within the respective schools. The purpose of using multiple case studies was to investigate the reality within the three sites selected. The three schools had three extreme settings, in the sense that one of the schools is a rich isiXhosa environment and the other two schools are English environments. The tools used for data gathering were interviews, classroom observations, and an analysis of documents from the Department of Basic Education. Data was then presented and analysed in Chapter 4 and 5 against the backdrop of an extensive literature review in Chapter 2 as well as a detailed methodological approach as outlined in Chapter 3. One of the findings of this research indicates that in two of the schools the teaching culture is largely from a western perspective, whereas in one of the schools the learners are primarily isiXhosa speaking and teachers use a different linguistic approach to imparting knowledge. In the private and ex-Model C school it was found that a lack of exposure to isiXhosa is the primary cause of language problems for L2 learners. Secondly the L1 is not appropriately maintained or promoted in the school environment because it is presumed that learners are sufficiently exposed to their L1 at home. The research found therefore that in this particular schooling environment there is an inconsistency between the curricula that is taught in relation to the linguistic abilities of the learners, many of whom are mother tongue speakers of isiXhosa. Furthermore and more generally, it was found that teachers are still not well informed concerning South Africa’s Language-in-Education-Policy and there is a need for more inservice training that will focus on the nature of additional language acquisition in order to address the challenges of teaching these languages. The thesis concludes that extensive work needs to be done in order to reposition the teaching of isiXhosa at all three levels, but particularly at FAL level. This research shows that there is a disjuncture between the proposed curriculum/learning outcomes and the standards or levels achieved by the learners, more especially at FAL and SAL where oral proficiency in isiXhosa remains a challenge. Specific recommendations are contained in the final chapter of the thesis which also makes reference to the draft policy of the Ministry of Basic Education regarding the incremental introduction of the teaching of African languages from 2014 onwards. This thesis also makes takes as a point of departure the importance of multilingualism in a multicultural society such as South Africa where language is suggested as a strong factor in the fostering of social cohesion. It is for this reason that the thesis argues that the expert teaching of African languages, in this case isiXhosa, at both mother tongue and second language levels is of fundamental importance to the future of South African society.
- Full Text:
- Authors: Fobe, Mila Pamella
- Date: 2014
- Subjects: Xhosa language -- Study and teaching (Primary) -- South Africa -- Grahamstown Xhosa language -- Study and teaching (Secondary) -- South Africa -- Grahamstown Language and education -- South Africa -- Grahamstown Curriculum planning Second language acquisition Public schools -- South Africa -- Grahamstown Language policy -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3630 , http://hdl.handle.net/10962/d1012072
- Description: This study looks at the curriculum outcomes, teaching practices and learner competencies in isiXhosa at three Eastern Cape schools and across three different grades, 7-9. It explores the link between language learning and teaching as well as the teaching strategies used within the classroom. In particular, the study seeks to analyse how isiXhosa is taught at three different levels of instruction, namely at Home Language (HL), First Additional Language (FAL) and Second Additional Language (SAL) levels. Qualitative methods were used, and the study took the form of interpretive case studies within the respective schools. The purpose of using multiple case studies was to investigate the reality within the three sites selected. The three schools had three extreme settings, in the sense that one of the schools is a rich isiXhosa environment and the other two schools are English environments. The tools used for data gathering were interviews, classroom observations, and an analysis of documents from the Department of Basic Education. Data was then presented and analysed in Chapter 4 and 5 against the backdrop of an extensive literature review in Chapter 2 as well as a detailed methodological approach as outlined in Chapter 3. One of the findings of this research indicates that in two of the schools the teaching culture is largely from a western perspective, whereas in one of the schools the learners are primarily isiXhosa speaking and teachers use a different linguistic approach to imparting knowledge. In the private and ex-Model C school it was found that a lack of exposure to isiXhosa is the primary cause of language problems for L2 learners. Secondly the L1 is not appropriately maintained or promoted in the school environment because it is presumed that learners are sufficiently exposed to their L1 at home. The research found therefore that in this particular schooling environment there is an inconsistency between the curricula that is taught in relation to the linguistic abilities of the learners, many of whom are mother tongue speakers of isiXhosa. Furthermore and more generally, it was found that teachers are still not well informed concerning South Africa’s Language-in-Education-Policy and there is a need for more inservice training that will focus on the nature of additional language acquisition in order to address the challenges of teaching these languages. The thesis concludes that extensive work needs to be done in order to reposition the teaching of isiXhosa at all three levels, but particularly at FAL level. This research shows that there is a disjuncture between the proposed curriculum/learning outcomes and the standards or levels achieved by the learners, more especially at FAL and SAL where oral proficiency in isiXhosa remains a challenge. Specific recommendations are contained in the final chapter of the thesis which also makes reference to the draft policy of the Ministry of Basic Education regarding the incremental introduction of the teaching of African languages from 2014 onwards. This thesis also makes takes as a point of departure the importance of multilingualism in a multicultural society such as South Africa where language is suggested as a strong factor in the fostering of social cohesion. It is for this reason that the thesis argues that the expert teaching of African languages, in this case isiXhosa, at both mother tongue and second language levels is of fundamental importance to the future of South African society.
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A critical analysis of the grammar of isiXhosa as used in the Revised Union version of the Bible
- Oosthuysen, Jacobus Christiaan
- Authors: Oosthuysen, Jacobus Christiaan
- Date: 2013
- Subjects: Bible -- Xhosa -- Revised Union -- 1942 Xhosa language -- Grammar -- Research Xhosa language -- Texts
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3555 , http://hdl.handle.net/10962/d1001625
- Description: This study provides a description and critical analysis of the grammatical structure of isiXhosa as used in the Revised Union Version of the Bible, published in 1942 and republished in 1975. This translation records what was regarded as proper isiXhosa at the beginning of the 20th century, reflecting the consensus inter alia of prominent isiXhosa writers, such as W.B. Rubusana, J.H. Soga, C. Koti, Y. Mbali and D. D. T. Jabavu, who served on the committee that produced the revision. In this study isiXhosa is described in its own right, without approaching it with preconceived ideas derived from other languages. That is to say this is a phenomenological analysis describing the grammatical structures of isiXhosa as they present themselves to the analyst. It is comprehensive, with no structure being overlooked or being described in such a manner that it complicates an understanding of other structures. In the first chapter the context of the research and a brief outline of the historical growth in understanding the structure of isiXhosa are set out and the goals and the method followed in this study are described. In the following chapters the findings of this study are presented. The initial focus is on isiXhosa phonology and the orthography used to put it to writing. Then isiXhosa morphology and syntax is set out. Initially the substantives, i.e. the nouns and pronouns in their distinctive classes and forms, and how they are qualified, receive attention. Then the predicates are explored, i.e. the verbs and copulatives, as linked to the substantives with concords, and reflecting various moods, tenses, actualities and aspects. Finally attention is given to ideophones and interjections and words that can be grouped together as adverbs, conjunctions, avoidance words and numerals. In the concluding chapter consideration is given to the question of whether this study has in fact achieved the aim of setting out a description of the structure of isiXhosa based solely on the language itself, free of preconceived ideas, and attention is drawn to insights gained in respect of the true nature of the isiXhosa grammatical structures, such as, for example, the variable prefix qualificative nouns, traditionally referred to as adjectives. This study is therefore a revisionist study in the sense that it reinvents isiXhosa as a language in its own right, free from Western influenced perspectives.
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- Authors: Oosthuysen, Jacobus Christiaan
- Date: 2013
- Subjects: Bible -- Xhosa -- Revised Union -- 1942 Xhosa language -- Grammar -- Research Xhosa language -- Texts
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3555 , http://hdl.handle.net/10962/d1001625
- Description: This study provides a description and critical analysis of the grammatical structure of isiXhosa as used in the Revised Union Version of the Bible, published in 1942 and republished in 1975. This translation records what was regarded as proper isiXhosa at the beginning of the 20th century, reflecting the consensus inter alia of prominent isiXhosa writers, such as W.B. Rubusana, J.H. Soga, C. Koti, Y. Mbali and D. D. T. Jabavu, who served on the committee that produced the revision. In this study isiXhosa is described in its own right, without approaching it with preconceived ideas derived from other languages. That is to say this is a phenomenological analysis describing the grammatical structures of isiXhosa as they present themselves to the analyst. It is comprehensive, with no structure being overlooked or being described in such a manner that it complicates an understanding of other structures. In the first chapter the context of the research and a brief outline of the historical growth in understanding the structure of isiXhosa are set out and the goals and the method followed in this study are described. In the following chapters the findings of this study are presented. The initial focus is on isiXhosa phonology and the orthography used to put it to writing. Then isiXhosa morphology and syntax is set out. Initially the substantives, i.e. the nouns and pronouns in their distinctive classes and forms, and how they are qualified, receive attention. Then the predicates are explored, i.e. the verbs and copulatives, as linked to the substantives with concords, and reflecting various moods, tenses, actualities and aspects. Finally attention is given to ideophones and interjections and words that can be grouped together as adverbs, conjunctions, avoidance words and numerals. In the concluding chapter consideration is given to the question of whether this study has in fact achieved the aim of setting out a description of the structure of isiXhosa based solely on the language itself, free of preconceived ideas, and attention is drawn to insights gained in respect of the true nature of the isiXhosa grammatical structures, such as, for example, the variable prefix qualificative nouns, traditionally referred to as adjectives. This study is therefore a revisionist study in the sense that it reinvents isiXhosa as a language in its own right, free from Western influenced perspectives.
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Aspects of isiXhosa poetry with special reference to poems produced about women
- Jadezweni, Mhlobo Wabantwana
- Authors: Jadezweni, Mhlobo Wabantwana
- Date: 2013
- Subjects: Laudatory poetry, Xhosa African poetry (English) -- History and criticism Women in literature Women and literature -- South Africa African poetry -- Women authors
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3616 , http://hdl.handle.net/10962/d1006364
- Description: This study investigates the use of modern and izibongo (praise poetry) techniques in representing women in selected isiXhosa poems. The main interest of the study is to determine whether the same techniques to depict men are used when writing about women. It is also the interest of the study to ascertain how gender issues are dealt with in the selected poems. Seminal studies on izibongo by eminent scholars in this field show a serious lack of critique and little recognition of women in African languages’ poetry in general and in isiXhosa in particular. Pioneering studies in Nguni poetry about women have thus recommended that serious studies on poetry about women be undertaken. The analyses of selected poems by established isiXhosa poets show that modern poetry conventions are significantly used together with izibongo techniques. These techniques are used without any gender differentiation, which is another point of interest of this study. There are however instances where images specific to women are used. Such use has however not been found to be demeaning of women in any way. Poems where modern poetry forms and conventions are used tend to deal with subjects who have international or an urban area background. Even though the modern poetry conventions are used with izibongo techniques the presence of the modern literary conventions is prominent. This is the case particularly with poems about women in politics. That some female poet seems to accept some cultural practices that are viewed to be undermining the status of women does not take away the voice of protest against this oppression by some of the selected poets. These two voices, one of acceptance and the other one of protest are used as a basis for a debate around a need for a literary theory that addresses the question of African culture with special reference to isiXhosa poetry about women. The success of the selected poets with both modern and izibongo techniques is a good sign for the development of isiXhosa poetry in general and isiXhosa poetry about women. It is strongly recommended that continued research of a serious nature concerning poetry about, and produced by women, be undertaken.
- Full Text:
- Authors: Jadezweni, Mhlobo Wabantwana
- Date: 2013
- Subjects: Laudatory poetry, Xhosa African poetry (English) -- History and criticism Women in literature Women and literature -- South Africa African poetry -- Women authors
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3616 , http://hdl.handle.net/10962/d1006364
- Description: This study investigates the use of modern and izibongo (praise poetry) techniques in representing women in selected isiXhosa poems. The main interest of the study is to determine whether the same techniques to depict men are used when writing about women. It is also the interest of the study to ascertain how gender issues are dealt with in the selected poems. Seminal studies on izibongo by eminent scholars in this field show a serious lack of critique and little recognition of women in African languages’ poetry in general and in isiXhosa in particular. Pioneering studies in Nguni poetry about women have thus recommended that serious studies on poetry about women be undertaken. The analyses of selected poems by established isiXhosa poets show that modern poetry conventions are significantly used together with izibongo techniques. These techniques are used without any gender differentiation, which is another point of interest of this study. There are however instances where images specific to women are used. Such use has however not been found to be demeaning of women in any way. Poems where modern poetry forms and conventions are used tend to deal with subjects who have international or an urban area background. Even though the modern poetry conventions are used with izibongo techniques the presence of the modern literary conventions is prominent. This is the case particularly with poems about women in politics. That some female poet seems to accept some cultural practices that are viewed to be undermining the status of women does not take away the voice of protest against this oppression by some of the selected poets. These two voices, one of acceptance and the other one of protest are used as a basis for a debate around a need for a literary theory that addresses the question of African culture with special reference to isiXhosa poetry about women. The success of the selected poets with both modern and izibongo techniques is a good sign for the development of isiXhosa poetry in general and isiXhosa poetry about women. It is strongly recommended that continued research of a serious nature concerning poetry about, and produced by women, be undertaken.
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Incorporating indigenous knowledge in the teaching of isiXhosa to pharmacy students at Rhodes University
- Authors: Mapi, Thandeka Priscilla
- Date: 2009
- Subjects: Rhodes University. Academic Development Programme Healers -- South Africa Traditional medicine -- South Africa Xhosa language -- Study and teaching -- South Africa Pharmacy -- Study and teaching -- South Africa Ethnoscience -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3622 , http://hdl.handle.net/10962/d1007469
- Description: Traditional healing is one of the most trusted methods of healing in South Africa, especially in rural areas, where health-care infrastructure is inadequate. People have depended on this method of healing since time immemorial. That belief has been strengthened by the fact that this method keeps people in touch with their ancestors. Traditional healers are trusted and believed to be the link between people and their ancestors. The Dwesa community is amongst the areas that still have strong belief in traditional healing. Traditional healers have a variety of methods of healing that they use, these methods have been trusted for people of all age groups. These methods are ukugabha, ukufutha and ukucima. Traditional healers prescribe them for both major and minor illnesses. They are believed to play a role in cleansing people from inside and outside. These methods together with other methods that are used in traditional healing are being explored in this study. This exploration is based on the fact that this information will be integrated into the teaching of isiXhosa to Pharmacy students at Rhodes University. This is an initiative to create awareness amongst health-care practitioners about traditional healing methods, so that they can caution and advise their patients about medicine taking behaviours, also to make them approach the subject in a sensitive manner. An isiXhosa course has been taught to Pharmacy students, as a pilot in 2007 and as an elective in 2008 onwards. This course deals with cultural issues in a broad manner, the issue of traditional healing specifically, and these methods of healing are outlined in the course, such that students have an understanding first of what a traditional healer is and their role in providing health-care services.
- Full Text:
- Authors: Mapi, Thandeka Priscilla
- Date: 2009
- Subjects: Rhodes University. Academic Development Programme Healers -- South Africa Traditional medicine -- South Africa Xhosa language -- Study and teaching -- South Africa Pharmacy -- Study and teaching -- South Africa Ethnoscience -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3622 , http://hdl.handle.net/10962/d1007469
- Description: Traditional healing is one of the most trusted methods of healing in South Africa, especially in rural areas, where health-care infrastructure is inadequate. People have depended on this method of healing since time immemorial. That belief has been strengthened by the fact that this method keeps people in touch with their ancestors. Traditional healers are trusted and believed to be the link between people and their ancestors. The Dwesa community is amongst the areas that still have strong belief in traditional healing. Traditional healers have a variety of methods of healing that they use, these methods have been trusted for people of all age groups. These methods are ukugabha, ukufutha and ukucima. Traditional healers prescribe them for both major and minor illnesses. They are believed to play a role in cleansing people from inside and outside. These methods together with other methods that are used in traditional healing are being explored in this study. This exploration is based on the fact that this information will be integrated into the teaching of isiXhosa to Pharmacy students at Rhodes University. This is an initiative to create awareness amongst health-care practitioners about traditional healing methods, so that they can caution and advise their patients about medicine taking behaviours, also to make them approach the subject in a sensitive manner. An isiXhosa course has been taught to Pharmacy students, as a pilot in 2007 and as an elective in 2008 onwards. This course deals with cultural issues in a broad manner, the issue of traditional healing specifically, and these methods of healing are outlined in the course, such that students have an understanding first of what a traditional healer is and their role in providing health-care services.
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An analysis of oral literary music texts in isiXhosa
- Authors: Mpola, Mavis Noluthando
- Date: 2007
- Subjects: Xhosa (African people) -- Music , Xhosa (African people) -- Music -- History , Xhosa (African people) -- Folklore , Composers, Black -- South Africa , Hymns, Xhosa , Folk literature, Xhosa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3632 , http://hdl.handle.net/10962/d1012909
- Description: 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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- Authors: Mpola, Mavis Noluthando
- Date: 2007
- Subjects: Xhosa (African people) -- Music , Xhosa (African people) -- Music -- History , Xhosa (African people) -- Folklore , Composers, Black -- South Africa , Hymns, Xhosa , Folk literature, Xhosa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3632 , http://hdl.handle.net/10962/d1012909
- Description: 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).
- Full Text:
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