& salt the earth behind you
- Authors: Naidoo, Prenesa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African fiction (English) -- 21st century , South African poetry (English) -- 21st century , Short stories, South African (English) -- 21st century , Diaries -- Authorship , Korean fiction -- 21st century -- History and criticism , Short stories, Argentine -- 21st century -- History and criticism , Arabic fiction -- Palestine 21st century -- History and criticism , Argentine fiction -- 21st century -- History and criticism
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178212 , vital:42921
- Description: My thesis is a collection of prose pieces in the form of short stories, flash fiction and prose poetry drawing on memory and lived experiences to explore the trauma of death, grief and displacement, solace and the paroxysms of home. As a young woman from an Indian South Africa community, Hindu superstitions and folktales are my second skin, and shape both my worldview and my writing. I am inspired by Lidia Yuknavitch’s observation that, “all artists see things that are not there”, and by Dambudzo Marechera’s belief that, “Beneath reality, there is always fantasy: the writer’s task is to reveal it, to open it out, to feel it, to experience it.” In my stories about trauma and grief, I often distort the line between seen and unseen worlds, where, for example, hauntings are taken seriously as lived experiences. I have also been influenced by Han Kang’s The White Book, Kali Fajardo-Anstine’s Sabrina & Corina, and Sandra Cisneros’ The House on Mango Street. Read together, Kang’s stand-alone short stories form part of a greater collective ‘memory’ or ‘life’; Fajardo-Anstine’s collection illustrates how to write about a specific female Latina community while still telling individual stories; and Cisneros’ fragments of memories tell the story of a person’s life in narratives which are as long or short as they need to be. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
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- Authors: Naidoo, Prenesa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African fiction (English) -- 21st century , South African poetry (English) -- 21st century , Short stories, South African (English) -- 21st century , Diaries -- Authorship , Korean fiction -- 21st century -- History and criticism , Short stories, Argentine -- 21st century -- History and criticism , Arabic fiction -- Palestine 21st century -- History and criticism , Argentine fiction -- 21st century -- History and criticism
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178212 , vital:42921
- Description: My thesis is a collection of prose pieces in the form of short stories, flash fiction and prose poetry drawing on memory and lived experiences to explore the trauma of death, grief and displacement, solace and the paroxysms of home. As a young woman from an Indian South Africa community, Hindu superstitions and folktales are my second skin, and shape both my worldview and my writing. I am inspired by Lidia Yuknavitch’s observation that, “all artists see things that are not there”, and by Dambudzo Marechera’s belief that, “Beneath reality, there is always fantasy: the writer’s task is to reveal it, to open it out, to feel it, to experience it.” In my stories about trauma and grief, I often distort the line between seen and unseen worlds, where, for example, hauntings are taken seriously as lived experiences. I have also been influenced by Han Kang’s The White Book, Kali Fajardo-Anstine’s Sabrina & Corina, and Sandra Cisneros’ The House on Mango Street. Read together, Kang’s stand-alone short stories form part of a greater collective ‘memory’ or ‘life’; Fajardo-Anstine’s collection illustrates how to write about a specific female Latina community while still telling individual stories; and Cisneros’ fragments of memories tell the story of a person’s life in narratives which are as long or short as they need to be. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
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Reminiscing In Tempo : Ubangulo
- Authors: Tutani, Zodwa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African poetry (English) -- 21st century , South African poetry (English) -- History and criticism , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/174376 , vital:42472
- Description: My thesis is a collection of poems that focuses on black mothering and motherhood, within the context of the Eastern Cape’s violent history, its oppressive patriarchal cultural traditions and religious structures. Drawing from my own experiences, my poems explore what Toni Morrison calls the historical ‘wounds’ of black women which are transferred to their daughters within everyday spaces like the kitchen and the lounge, through objects like tea cups, chair backs and the various foods that every black girl needs to be able to prepare in order to be ‘marriagable’, and how these continue to hurt and emotionally disfigure us. I also draw influence from Saidiya Hartman, Christina Sharpe and Tina Campt on black lives and the effects of slavery within their daily existences. And I am inspired by the intimacy and care with which Tadeusz Rosewicz writes about his relationship with his mother in Mother Departs and Sandra Cisneros’ use of interconnected vignettes to engage childhood, culture and community within marginalized space. Stylistically I am influenced by the structural innovations in Fred Moten’s The Little Edges and the dreamy landscape in the poetry of Federico Garcia Lorca. My collection includes prose and lyrical poetry, combining more formal sound and rhythmic structures with free verse, to bring to life motherhood and the narratives we carry from childhood into our adult lives.
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- Authors: Tutani, Zodwa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African poetry (English) -- 21st century , South African poetry (English) -- History and criticism , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/174376 , vital:42472
- Description: My thesis is a collection of poems that focuses on black mothering and motherhood, within the context of the Eastern Cape’s violent history, its oppressive patriarchal cultural traditions and religious structures. Drawing from my own experiences, my poems explore what Toni Morrison calls the historical ‘wounds’ of black women which are transferred to their daughters within everyday spaces like the kitchen and the lounge, through objects like tea cups, chair backs and the various foods that every black girl needs to be able to prepare in order to be ‘marriagable’, and how these continue to hurt and emotionally disfigure us. I also draw influence from Saidiya Hartman, Christina Sharpe and Tina Campt on black lives and the effects of slavery within their daily existences. And I am inspired by the intimacy and care with which Tadeusz Rosewicz writes about his relationship with his mother in Mother Departs and Sandra Cisneros’ use of interconnected vignettes to engage childhood, culture and community within marginalized space. Stylistically I am influenced by the structural innovations in Fred Moten’s The Little Edges and the dreamy landscape in the poetry of Federico Garcia Lorca. My collection includes prose and lyrical poetry, combining more formal sound and rhythmic structures with free verse, to bring to life motherhood and the narratives we carry from childhood into our adult lives.
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Salt in my footsteps
- Authors: Radebe, Mxolisi Vusumuzi
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African poetry (English) -- 21st century , South African fiction (English) -- 21st century
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178201 , vital:42920
- Description: My thesis is a collection of poems which focus on human experiences related to my background. I grew up in a countryside village, freely experiencing nature in unrestricted walks to the rivers and mountains; communal living instilled in me the humanitarian values which I uphold to the present. I use short and long lyrical prose poems to bring life and humanise the untold or unexpressed stories of my community. My use of simple everyday language and clear, concrete but surprising images that resonate with deeper meanings and emotions is influenced by Seitlhamo Motsapi’s poems, especially his collection of poems titled earthstepper/the ocean is very shallow and Mxolisi Nyezwa’s poetry book, Song Trials. Spanish poems in English translations by the 20th century Spanish poets: Blas de Otero, Juan Roman Jimenez and Federico Garcia Lorca, published in the book titled Roots and Wings have had a huge impact on my construction of images. I also draw from the free-form and narrative prose poetry experiments of poets: Mangaliso Buzani, vangile gantsho and Ivy Alvarez. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
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- Authors: Radebe, Mxolisi Vusumuzi
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African poetry (English) -- 21st century , South African fiction (English) -- 21st century
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178201 , vital:42920
- Description: My thesis is a collection of poems which focus on human experiences related to my background. I grew up in a countryside village, freely experiencing nature in unrestricted walks to the rivers and mountains; communal living instilled in me the humanitarian values which I uphold to the present. I use short and long lyrical prose poems to bring life and humanise the untold or unexpressed stories of my community. My use of simple everyday language and clear, concrete but surprising images that resonate with deeper meanings and emotions is influenced by Seitlhamo Motsapi’s poems, especially his collection of poems titled earthstepper/the ocean is very shallow and Mxolisi Nyezwa’s poetry book, Song Trials. Spanish poems in English translations by the 20th century Spanish poets: Blas de Otero, Juan Roman Jimenez and Federico Garcia Lorca, published in the book titled Roots and Wings have had a huge impact on my construction of images. I also draw from the free-form and narrative prose poetry experiments of poets: Mangaliso Buzani, vangile gantsho and Ivy Alvarez. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
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Student protests in South African universities with specific reference to Rhodes University (1970-1994)
- Authors: Gillam, Katherine Elaine
- Date: 2021-04
- Subjects: Student movements South Africa Makhanda History , Students Political activity South Africa Makhanda , College students, Black Political activity South Africa Makhanda , Rhodes Must Fall , FeesMustFall , South Africa Politics and government 1994- , Democratic transition
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178457 , vital:42941
- Description: This thesis is about student protest at Rhodes University from 1970- 1994 It examines how student protests mirrored broader political and economic contexts in this period. Further this thesis also investigates the changes in student protest over the years. As democracy drew closer, student protests at Rhodes became less apparent. This thesis consults numerous sources which include books, articles, archives and extensive interviews. A significant aspect of this work is that the research on the Black Students Movement at Rhodes University has not been explored in detail, particularly in scholarly works. This thesis therefore contributes to the historiography of black student politics at a historically white university. It also explores the period of democratic transition in South Africa, where secondary issues such as gender and access came to the forefront of student protests. As democracy drew closer, student protests became infrequent on campus due to the changes anticipated under the newly elected democratic government. Despite sparse protests, black students remained sceptical of the democratic transition. The thesis uncovers that many issues were left unresolved which later resurfaced under the 2015 and 2016 #RhodesMustFall, #FeesMustFall and #RUReferenceList protests. , Thesis (MA) -- Faculty of Humanities, History, 2021
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- Authors: Gillam, Katherine Elaine
- Date: 2021-04
- Subjects: Student movements South Africa Makhanda History , Students Political activity South Africa Makhanda , College students, Black Political activity South Africa Makhanda , Rhodes Must Fall , FeesMustFall , South Africa Politics and government 1994- , Democratic transition
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178457 , vital:42941
- Description: This thesis is about student protest at Rhodes University from 1970- 1994 It examines how student protests mirrored broader political and economic contexts in this period. Further this thesis also investigates the changes in student protest over the years. As democracy drew closer, student protests at Rhodes became less apparent. This thesis consults numerous sources which include books, articles, archives and extensive interviews. A significant aspect of this work is that the research on the Black Students Movement at Rhodes University has not been explored in detail, particularly in scholarly works. This thesis therefore contributes to the historiography of black student politics at a historically white university. It also explores the period of democratic transition in South Africa, where secondary issues such as gender and access came to the forefront of student protests. As democracy drew closer, student protests became infrequent on campus due to the changes anticipated under the newly elected democratic government. Despite sparse protests, black students remained sceptical of the democratic transition. The thesis uncovers that many issues were left unresolved which later resurfaced under the 2015 and 2016 #RhodesMustFall, #FeesMustFall and #RUReferenceList protests. , Thesis (MA) -- Faculty of Humanities, History, 2021
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The Dragon in the News : how Malawian journalists perceive the political influence of China on news reporting in Malawi
- Authors: Nyirongo, Mwaona
- Date: 2021-04
- Subjects: Journalists -- Malawi , Journalism -- Malawi , Journalism -- Political aspects -- Malawi , Journalism -- Objectivity -- Malawi , China -- Foreign economic relations -- Malawi , Malawi -- Economic conditions , Malawi -- Politics and government
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/177907 , vital:42889
- Description: The arrival of China in Malawi has been characterised by a growing sense of uncertainty where academics and social commentators at large have expressed concern over the intentions of the super power in the country. There are fears that China would like to extend its influence to Malawi as part of a broader push, to have greater influence in global politics and economics. That push is in part exercised through the media. The thesis examined the perception of Malawian journalists on how news media reports on Chinese activities in Malawi. It used content analysis to understand how the mediascape had changed from 2001 – 2007 when China had not established diplomatic relations with Malawi, and January 2008 – 2020 when China had established diplomatic relations. The thesis examined these shifts in journalistic representations of China in Malawi and developed prompts and probes from which journalist interviews were conducted. From the content analysis, it appears there is a remarkable change in the way China has been covered from 2001 – 2020. From 2001 – 2007, Malawian media, especially The Daily Times, was very harsh on China, uncritically reproducing Western representations of China as an aggressive country with no respect for human rights and dignity. This changed after January 2008 when the media leaned towards tolerance and acknowledgement of Chinese activities. Through interviews, journalists have indicated that the Chinese government offers opportunities, such as scholarships, fellowships, and exchange visits to journalists, making it difficult for them to bite the finger that is feeding them. This ‘soft power’ is backed up by the repressive power of the Malawi government, which uses intimidation to force journalists to report in their favour, thereby helping create a positive picture for China in Malawi. Journalists report that the significant shifts in journalistic representations of China have been mirrored by changes in the conceptualisation of journalistic roles in Malawi’s mediascape. , Thesis (MA) -- Faculty of Humanities, Journalsim and Media Studies, 2021
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- Authors: Nyirongo, Mwaona
- Date: 2021-04
- Subjects: Journalists -- Malawi , Journalism -- Malawi , Journalism -- Political aspects -- Malawi , Journalism -- Objectivity -- Malawi , China -- Foreign economic relations -- Malawi , Malawi -- Economic conditions , Malawi -- Politics and government
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/177907 , vital:42889
- Description: The arrival of China in Malawi has been characterised by a growing sense of uncertainty where academics and social commentators at large have expressed concern over the intentions of the super power in the country. There are fears that China would like to extend its influence to Malawi as part of a broader push, to have greater influence in global politics and economics. That push is in part exercised through the media. The thesis examined the perception of Malawian journalists on how news media reports on Chinese activities in Malawi. It used content analysis to understand how the mediascape had changed from 2001 – 2007 when China had not established diplomatic relations with Malawi, and January 2008 – 2020 when China had established diplomatic relations. The thesis examined these shifts in journalistic representations of China in Malawi and developed prompts and probes from which journalist interviews were conducted. From the content analysis, it appears there is a remarkable change in the way China has been covered from 2001 – 2020. From 2001 – 2007, Malawian media, especially The Daily Times, was very harsh on China, uncritically reproducing Western representations of China as an aggressive country with no respect for human rights and dignity. This changed after January 2008 when the media leaned towards tolerance and acknowledgement of Chinese activities. Through interviews, journalists have indicated that the Chinese government offers opportunities, such as scholarships, fellowships, and exchange visits to journalists, making it difficult for them to bite the finger that is feeding them. This ‘soft power’ is backed up by the repressive power of the Malawi government, which uses intimidation to force journalists to report in their favour, thereby helping create a positive picture for China in Malawi. Journalists report that the significant shifts in journalistic representations of China have been mirrored by changes in the conceptualisation of journalistic roles in Malawi’s mediascape. , Thesis (MA) -- Faculty of Humanities, Journalsim and Media Studies, 2021
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The representation of women in selected isiXhosa drama books
- Authors: Klaas, Sibusiso
- Date: 2021-04
- Subjects: Women in literature , Xhosa drama -- 20th century -- History and criticism , Xhosa drama -- 21st century -- History and criticism , Pragmatics , Discourse analysis , Mothlabane, H. E. (Hlumela Elephylet), 1953- -- Criticism and interpretation , Ngewu, L. L. (Lubabalo Livingstone), 1950-2012 -- Criticism and interpretation , Buzani, Nompumezo -- Criticism and interpretation
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/177672 , vital:42845
- Description: The current study focused on the representation of women in isiXhosa drama books. The aim of the study was to understand how women are represented in these post-1990 dramas written by both female and male authors. Furthermore, the study aimed to look at whether the authors took note of developments made by African women in a broader context such as social, political, spiritual and economic spheres. The study followed a pragmatic approach which is useful to analyse drama, the meanings and the events related to situations. A discourse analysis was also applied as it is difficult to separate it from pragmatics. This means that the study outlined the correlation of pragmatics with discourse analysis and drama. Four isiXhosa books were selected which are Iinkunzi ezimbini by Hlumela Mothlabane 1994, Yeha mfazi obulala indoda 1997 and Kuphek’amadoda kupheth’abafazi We-ena! 2007 by Lubabalo Livingstone Ngewu and Imida by Nompumezo Buzani 2016. Episodes from the four selected isiXhosa drama books were identified. Upon identifying the episodes, they were categorised in to themes in order to highlight the representation of women in the books. This was done using a qualitative research method because it useful to be used in natural setting to understand meanings and social life. Many themes were identified in the four selected isiXhosa drama books. The dominating themes are women who are educated, employed and do not tolerate ill treatment. This shows that the authors in a way are paying attention to the events occurring post-1990 as some of these were not popular pre-1990. The study acknowledges that there is limited research conducted that analyses drama books from both male and female authors. Therefore, future studies could look into this. , Thesis (MA) -- Faculty of Humanities, School of Language & Literatures, Education, 2021
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- Authors: Klaas, Sibusiso
- Date: 2021-04
- Subjects: Women in literature , Xhosa drama -- 20th century -- History and criticism , Xhosa drama -- 21st century -- History and criticism , Pragmatics , Discourse analysis , Mothlabane, H. E. (Hlumela Elephylet), 1953- -- Criticism and interpretation , Ngewu, L. L. (Lubabalo Livingstone), 1950-2012 -- Criticism and interpretation , Buzani, Nompumezo -- Criticism and interpretation
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/177672 , vital:42845
- Description: The current study focused on the representation of women in isiXhosa drama books. The aim of the study was to understand how women are represented in these post-1990 dramas written by both female and male authors. Furthermore, the study aimed to look at whether the authors took note of developments made by African women in a broader context such as social, political, spiritual and economic spheres. The study followed a pragmatic approach which is useful to analyse drama, the meanings and the events related to situations. A discourse analysis was also applied as it is difficult to separate it from pragmatics. This means that the study outlined the correlation of pragmatics with discourse analysis and drama. Four isiXhosa books were selected which are Iinkunzi ezimbini by Hlumela Mothlabane 1994, Yeha mfazi obulala indoda 1997 and Kuphek’amadoda kupheth’abafazi We-ena! 2007 by Lubabalo Livingstone Ngewu and Imida by Nompumezo Buzani 2016. Episodes from the four selected isiXhosa drama books were identified. Upon identifying the episodes, they were categorised in to themes in order to highlight the representation of women in the books. This was done using a qualitative research method because it useful to be used in natural setting to understand meanings and social life. Many themes were identified in the four selected isiXhosa drama books. The dominating themes are women who are educated, employed and do not tolerate ill treatment. This shows that the authors in a way are paying attention to the events occurring post-1990 as some of these were not popular pre-1990. The study acknowledges that there is limited research conducted that analyses drama books from both male and female authors. Therefore, future studies could look into this. , Thesis (MA) -- Faculty of Humanities, School of Language & Literatures, Education, 2021
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Umemulo and Zulu girlhood: From preservation to variations of ukuhlonipha nokufihla (respect and secrecy)
- Authors: Mntambo, Londiwe Nompilo
- Date: 2021-04
- Subjects: Virginity , Zulu (African people) -- Rites and ceremonies , Zulu (African people) -- Social life and customs , Virginity -- Social aspects , Women, Zulu -- South Africa -- KwaZulu-Natal -- Social conditions , Women -- Social and moral questions
- Language: English , Zulu
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178352 , vital:42932
- Description: This study examines evolving definitions of ukuziphatha kahle that historically relied on the preservation of virginity for Zulu girls, who participate in the umemulo ceremony that marks the transition from girlhood to womanhood. It examines notions of Zulu girlhood as understood through preservation - ukugcina isibaya sikaBaba - and through respectability and secrecy - ukuhlonipha nokufihla. The study analyses how conceptions of ukuziphatha kahle (good behavior) have evolved in the context of sexual rights in the performance of Zulu girlhood. It is located in the interdisciplinary literature of global girlhood studies, and African feminist lenses of womanhood and rites of passages. The study draws from 26 interviews with Zulu women who have gone through umemulo, elder women who facilitate virginity testing and umemulo; and female relatives of women who have gone through umemulo in Estcourt, Wembezi, Paapkalius Fountain, Ntabamhlophe and Cornfields in KwaZulu-Natal. This thesis contextualises umemulo and ukuziphatha kahle (good behaviour) in democratic South Africa. Umemulo is a ritual done for a Zulu girl whose behaviour is deemed to be good. While this is clear, what constitutes ukuziphatha kahle (good behaviour) is contested. On stricter terms, ukuziphatha kahle means to be intombi nto (a virgin). The interviews with women who went through umemulo show that most of them were not virgins at the time of the ritual. The elder and younger women expressed that ukuziphatha kahle for them goes beyond the girl’s virginity. Instead, they understand it as a girl who does not have a child, and who has shown respect and obedience to her parents and elders. Strikingly, the study shows an inter-generational collusion between the younger and elder women, who maintain the outward appearance of virginity of the girls who participate in umemulo. The study argues that there are variations of ukuhlonipha (respect), which in the rights context of democratic South Africa overlap into ukufihla (secrecy). Importantly, it is clear that the concept of being a good Zulu womanhood holds and remains important for Zulu girls and women. However, the ways in which Zulu women experience and perform this is complex. The findings show that while many Zulu girls want to be seen as performing accepted good Zulu womanhood, they do so in ways that allow them to enjoy their sexual rights and pleasure. This is not a tension. , Thesis (MA) -- Faculty of Humanities, Politial and International Studies, 2021
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- Authors: Mntambo, Londiwe Nompilo
- Date: 2021-04
- Subjects: Virginity , Zulu (African people) -- Rites and ceremonies , Zulu (African people) -- Social life and customs , Virginity -- Social aspects , Women, Zulu -- South Africa -- KwaZulu-Natal -- Social conditions , Women -- Social and moral questions
- Language: English , Zulu
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178352 , vital:42932
- Description: This study examines evolving definitions of ukuziphatha kahle that historically relied on the preservation of virginity for Zulu girls, who participate in the umemulo ceremony that marks the transition from girlhood to womanhood. It examines notions of Zulu girlhood as understood through preservation - ukugcina isibaya sikaBaba - and through respectability and secrecy - ukuhlonipha nokufihla. The study analyses how conceptions of ukuziphatha kahle (good behavior) have evolved in the context of sexual rights in the performance of Zulu girlhood. It is located in the interdisciplinary literature of global girlhood studies, and African feminist lenses of womanhood and rites of passages. The study draws from 26 interviews with Zulu women who have gone through umemulo, elder women who facilitate virginity testing and umemulo; and female relatives of women who have gone through umemulo in Estcourt, Wembezi, Paapkalius Fountain, Ntabamhlophe and Cornfields in KwaZulu-Natal. This thesis contextualises umemulo and ukuziphatha kahle (good behaviour) in democratic South Africa. Umemulo is a ritual done for a Zulu girl whose behaviour is deemed to be good. While this is clear, what constitutes ukuziphatha kahle (good behaviour) is contested. On stricter terms, ukuziphatha kahle means to be intombi nto (a virgin). The interviews with women who went through umemulo show that most of them were not virgins at the time of the ritual. The elder and younger women expressed that ukuziphatha kahle for them goes beyond the girl’s virginity. Instead, they understand it as a girl who does not have a child, and who has shown respect and obedience to her parents and elders. Strikingly, the study shows an inter-generational collusion between the younger and elder women, who maintain the outward appearance of virginity of the girls who participate in umemulo. The study argues that there are variations of ukuhlonipha (respect), which in the rights context of democratic South Africa overlap into ukufihla (secrecy). Importantly, it is clear that the concept of being a good Zulu womanhood holds and remains important for Zulu girls and women. However, the ways in which Zulu women experience and perform this is complex. The findings show that while many Zulu girls want to be seen as performing accepted good Zulu womanhood, they do so in ways that allow them to enjoy their sexual rights and pleasure. This is not a tension. , Thesis (MA) -- Faculty of Humanities, Politial and International Studies, 2021
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