Thesis (doctoral)--Universität zu Göttingen, 1914. / Vita. Includes bibliographical references.

Thesis--Catholic University of America. / Description based on print version record. Bibliography: p. xi-xiv.

M.A. / This is a survey of the use of imagery in both traditional and modern Zulu praise poetry. For the purposes of this corpus, emphasis will be placed on izibongo (praise poems) of the Zulu kings, chiefs, prominent figures, and also minor characters. The following are the main figures of speech which are worth mentioning in this study: metaphor, personification, symbolism, metonymy, simile, and hyperbole. The definitions of the aforementioned images by various critics will be given in this chapter. The study does not involve a stylistic analysis of izibongo as a whole; its primary focus is to assess the utilization of certain animals, objects and natural phenomena, as the basis of metaphors. In this study, I will confine myself to two texts. These are IZIBONGO ZULU PRAISE-POEMS, by T. Cope and MUSHO! ZULU POPULAR PRAISES, edited by L. Gunner and M. Gwala. The former contains mostly traditional praise poems of kings, chiefs, headmen, and two promiment women: Mnkabayi kalama and Nandi kaMbengi; the latter consists of izibongo of political figures and of anyone who was deemed praise-worthy. In recent years political leaders have become very prominent. Gunner and Gwala (1991: 11) acknowledge this when they state that, "the freed leaders will be honoured like kings ... and one of the country's most gifted izimbongi (praisers) wants to make sure the released men hear the story of the people's suffering". Often, at political gatherings, where leaders of the different parties are present, praises are recited which are fit for kings. Take the case of the inauguration of Dr Nelson Mandela, where one witnessed the presence of two izimbongi, who were reciting the praises of Mandela. Images of fierce battles and heroism dominate traditional praises, while images of nostalgia and the verbal war characterise modern praises. Most of the images used however, imitate those used in the praises of traditional kings. There are also the izibongo of the ancestors. Such praises are related to clan praises. These are rich in images, for imagery is the essence of poetry: URadebe! uMthimkhulu! uBhungane! uMashwabada Owashwabadela inkomo nezimpondo! UMafuza afulele njengefu lemvula! (Mzolo, 1977: 190) (Radebe! Mthimkhulu! Bhungane! Mashwabada Swallower of a cow and its horns! The stripper and thatcher just like a cloud of rain!) For the purpose of this study however, only the praises of kings, chiefs, political . leaders, prominent figures, and other people in traditional and modern poetry in Zulu will be examined. As mentioned earlier, the figures of speech employed in traditional praises are characterised by images of battle prowess, especially during the Shakan era. In contrast, in modern praise poetry, there is a shift from the idea of physical war. The modern praises do recount deeds performed in the heat of battle, but only as a sentimental memory of things in the past. To a large extent the imbongi incorporates the praises of the praised one's predecessors. Albert Luthuli's izibongo are a case in point: U-u-uDlungwane kaNdaba Odlung' emanxulumeni kwaze kwasa arnanxuluma ebikelana (Gunner and Gwala, 1991: 81.) (Fe-e-erocious One, of Ndaba Who raged among the crowded kraals until dawn and the news spread through the large villages.) Thus Luthuli and Shaka share similar praises; Shaka is: UDlungwane kaNdaba! UDlungwane womBelebele, Odlung' emanxulumeni, Kwaze kwas' amanxulum' esibikelana (Nyembezi, 1958: 19.) (Ferocious one of Ndaba, Ferocious one of the Mbelebele brigade, Who raged among the crowded kraals, until dawn the huts were being turned upside-down.) King Shaka and Chief Luthuli are both known for their heroic actions, hence they share the same praises. The absorption of part of Shaka's izibongo in Luthuli's praises shows that Luthuli like Shaka, was striving to unify various nations. Like King Shaka, he died before he could complete this mission. This corpus has been broken down into five chapters so that one can look more fully at images. Chapter one focuses on the aims and scope of the study. The definitions of the images are given and other related concepts are discussed. Chapter two is concerned with the metaphor, while chapter three focuses on the simile. Chapter four discusses personification, symbolism, and hyperbole, which are dealt with concurrently. Chapter five compares the use of imagery in traditional and modern praise poetry in Zulu and features a general conclusion which states the significance of the study, restates the main idea, unifies the discussion and impresses the main points discussed in the preceding chapters.

M.A. (African Languages) / Please refer to full text to view abstract

Olu phando luza kuphendla ubugcisa bokusetyenziswa kwezicengo ekutshintsheni izimvo, iinkolo nokuziphatha kwabantu. Kuza kugxilwa kakhulu kwiinjongo noxinzelelo lwazo kuba zingunozala wezicengo. Kuza kugocwagocwa ‘Amaza’ kaQangule kwakunye no ‘UDike noCikizwa’ kaMmango. Apha kwezi ncwadi kuza kuhlutywa ukuba ulwimi olucengayo luyasetyenziswa ngabantu abantetho isisiXhosa, nokuba imingangatho eyinqobo (values), inkcubeko, nengqeqesho (socialization) zidlala indima enkulu kulwimi olucengayo. Isahluko sokuqala salo msebenzi siza kunika amagqabantshintshi ngolu phando. Esi sahluko siqulathe: Intshayelelo; Iingxaki zophando; Iinjongo zophando; Ukubaluleka kolu phando; Okusele kubhaliwe ngezicengo; Ingcaciso magama. Isahluko sesibini siqulathe iingcingane zolwimi olucengayo, abasunguli bazo, nemisebenzi yabo. Isahluko sesithathu siqwalasele ukusetyenziswa kwezicengo kwiincwadi ezichongiweyo. Isahluko sesine sijonge ubugcisa bokusetyenziswa kolwimi olucengayo kwizihlobo nakwiintsapho. Kwalapha, kujongwe nokusetyenziswa kolwimi oluchubekileyo ngamadoda nabafazi, igunya, umyalezo ocalanye kwakunye nokunikezela. Isahluko sesihlanu nesisesokugqibela – sishwankathela iziphumo zophando kukwanikwa neengcebiso.

The study of body part metaphors provides a convenient way to examine human conceptual structuring because we start from what we as humans share. This study collected and compared Thai and English body part metaphors: one hundred and eighty-four English body part expressions and four hundred and eighty-eight Thai body part expressions were considered.The data are discussed in terms of the body part involved, the underlying conceptual metaphors, and syntactic and morphological form. The data show that basically, Thai and English share many conceptual metaphors, and there are a number of equivalent expressions in both languages, such as hua-hoog [head-spear] `spearhead', and waan-caj [sweet-heart] `sweetheart.' Furthermore, it was found that most body part metaphors are built on three different aspects of body parts: physical constitution, location and nature of involvement. In some contexts, more than one of these bases is involved in the same expression.Other similarities include sharing some of the same morphological and syntactic forms, using the same body parts; relative frequency of individual body parts; having completely equivalent expressions, and having pairs of opposite expressions. Differences involve having some different morphological and syntactic forms; the number of conventional body part metaphors found in translation-equivalent texts, with Thai having many more than English; a difference between the two languages in distribution across written vs. spoken texts; having similarly glossed expressions with different metaphorical meanings; level of markedness for an otherwise equivalent expression; and degree of explicitness in the components of an expression.Finally, applications of the findings to the teaching of English to Thai speakers and vice versa are discussed. I conclude that systematic attention to the bases of metaphorical expressions to facilitate learning is to follow the time-proven practice of linking the old to the new. / Department of English

Thesis (D.Th.)--University of South Africa, 2002.

No description available.

This study examines gaze patterns of monolinguals and bilinguals encoding speech in familiar and unfamiliar languages. In condition 1 English monolinguals viewed videos in familiar and unfamiliar languages (English and Spanish or Icelandic). They performed a task to ensure encoding: on each trial, two videos of short sentences were presented, followed by an audio-only recording of one of those sentences. Participants choose whether the audio-clip matched the first or second video. Participants gazed significantly longer at speaker's mouths when viewing unfamiliar languages. In condition 2 Spanish-English bilingual's viewed English and Spanish, no difference was found between the languages. In condition 3 the task was removed, English monolinguals viewed 20 English and 20 Icelandic videos, no difference in the gaze patterns was found, suggesting this phenomenon relies on encoding. Results indicate people encoding unfamiliar speech attend to the mouth presumably to extract more accurate audiovisually invariant and highly salient speech information. / by Lauren Wood Mavica. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Thesis--Columbia University, "in virtually its original form."