Although isiZulu has been accorded official status by the constitution of the country, the language continues to be marginalised in the private and public sectors. This illustrates that there is a considerable mismatch between the language policy on the one hand, and language practice on the other hand in these sectors. This is due largely to the problems associated with the practical implementation of the language policy. This study sets out to investigate the attitudes of Zulu and non-Zulu speakers at selected private and public sector institutions to gauge how these speakers feel about isiZulu and what can be done to promote the language in this region. Against this background, an empirical investigation comprising a questionnaire survey, which produced descriptive and inferential statistical data, was undertaken. Data were gathered by means of questionnaires from a random sample of Zulu and non-Zulu speakers from the eThekwini region. Semistructured interviews were conducted with Zulu and non-Zulu speakers at selected private and public sector institutions in this region. Data gathered from the semi-structured interviews were used to complement data from the questionnaires. The main findings indicate that among Zulu speakers, isiZulu has entrenched its position in the domestic domain because it is the main language of communication with family members, friends and neighbours. However, the language has not yet established itself in the commercial sector. The findings reveal that Zulu speakers are proud of isiZulu and they feel that the language has the potential to be used in all spheres of society. The majority of non-Zulu speakers on the other hand, consider isiZulu an important requirement for employment opportunities. They also feel that the isiZulu is going to play an important role in the future and it is imperative that people acquire the language so that they can communicate effectively with the majority in this region. Since the majority of Zulu speakers and non-Zulu speakers in this study display positive attitudes towards isiZulu it augurs well for the future development of the language. Based on the main findings, detailed recommendations are suggested to enhance the practical implementation of isiZulu in the eThekwini region and in other parts of KwaZulu-Natal. / Thesis (PhD.)-University of KwaZulu-Natal, 2007.

Tricksters and Trickery in Zulu Folktales is a research on one of the central themes in African, and particularly Nguni/Zulu folklore, in which the trickster figure plays a pivotal role. The Zulu form part of the Nguni group of the Kintu speaking populations in sub-Saharan Africa. Their oral traditions are based on those of the whole sub-continent, but also constitute significant innovations due to the Nguni's contacts with the Khoisan peoples and to the history that has shaped their reasoning processes. Folktales are an artistic reflection of the people's culture, history, way of life, attitudes to persons and events, springing from the observation of nature and of animal and human, behaviour, in order to create a "culture of the feelings" on which adult decisions are based. The present research is based on the concept of a semiotic communication system whereby folktale "texts" are considered as metaphors, to be de-coded from the literary, cultural and behavioural points of view. The system is employed to produce comic entertainement, as well as for education. A careful examination of the sources reveals the central role that observation of the open book of natural phenomena, and especially the observation of animal life, plays in the formulation of thought patterns and of the imagery bank on which all artistic expression is based, be it in the form of proverbs, or tales, or poetry. Animal observation shows that the small species need to act with some form of cunning in the struggle for survival. The employment of tricks in the tales can be either successful or unsuccessful, and this constitutes the fundamental division of the characters who are constantly associated with trickery. They apply deceiving patterns based on false contracts that create an illusion enabling the trickster to use substitution techniques. The same trick pattern is however widely employed, either successfully or unsuccessfully, by a score of other characters who are only "occasional tricksters", such as human beings, in order to overcome the challenge posed by external, often superior, forces, or simply in order to shape events to their own advantage. The original mould for the successful trickster figure in Kintu speaking Africa is the small Hare. The choice of this animal character points to the bewildered realization that small beings can only survive through guile in a hostile environment dominated by powerful killers. The Nguni/Zulu innovation consists of a composite character with a dual manifestation: Chakide, the slender mongoose, a small carnivorous animal, whose main folktale name is the diminutive Chakijana; and its counterpart Hlakanyana, a semi-human dwarf. The innovation contains a double value: the root ideophone hlaka points to an intelligent being, able to outwit his adversaries by "dissecting" all the elements of a situation in order to identify weaknesses that offer the possibility of defeating the enemy; and to "re-arrange" reality in a new way. This shows the ambivalent function of trickery as a force for both demolition and reconstruction. Chakijana, the small slender mongoose, is like the pan-African Hare in most respects, but with the added feature of being carnivorous, therefore a merciless killer. He makes use of all its powers to either escape larger animals, or to conquer other animals for food in order to survive. Hlakanyana, being semi-human, can interact with both humans and animals; Chakijana is mostly active in an animal setting. The unsuccessful trickster figure in Kintu speaking Africa is Hyena, an evil and powerful killer and scavenger, associated in popular belief with witches by reason of his nocturnal habits and grave digging activities. The Nguni/Zulu innovation is Izimu, a fictional semi-human being, traditionally interpreted as a cannibal, a merciless and dark man eater. Izimu is another composite figure, prevalently corresponding to Hyena, from which he draws most of his fictional characteristics. The figure further assimilates features of half-human, half-animal man-eating monsters known in the folklore of many African cultures, as well as the ogre figure prevalent in European tales. The anthropophagous aspect, taken as its prevalent characteristic by earlier researchers, is a rather secondary feature. The innovation from a purely animal figure (Hyena) to a semi-human one allows this character to interact mostly with human beings, thus expressing deeply felt human concerns and fears. Trickery is the hallmark of comedy, the art of looking at life from an upside-down point of view, to portray not the norm but the unexpected. Thus the metaphors contained in trickster folktales, as expressions of comedy, are rather difficult to decode. The ambivalence, so common in many manifestations of African culture, becomes prevalent in these tales. Human tricksters, who try to imitate the trick sequence, are successful if their aims can be justified in terms of culture and tradition; but are unsuccessful if their aims are disruptive of social harmony. Ambivalence is also predominant in "modern" trickster folktales, and in some manifestations of the trickster themes in recent literature. The trickster tradition is an important aspect of the traditions of the Zulu people, permeating social, educational and literary aspects of life and culture. The Nguni/Zulu innovations of Hlakanyana/Chakijana and of Izimu point to the dynamic and inner stability of the culture, a precious heritage and a force on which to build a great future. / Thesis (Ph.D.)-University of Natal, Durban, 1995.

After the release of Act No 108 of 1996, the status of the nine African languages of South Africa was elevated to that of English and Afrikaans and as a result, for the first time in the history of languages, South Africa became the first country in Africa to have eleven official languages. However, Sign Language for the Deaf was left out even though Section 6(4) of the South African School's Act No 84 of 1996 puts it clearly that "A recognized sign Language has the status of an official language for purposes of learning at a public school". In terms of Section 6 (5) (a) of the Constitution of the Republic of South Africa, Pan South African Language Board was also given a task to promote, and create conditions for the development and use of the Sign Language. DEAFSA (1996), states that Sign Language is the first or natural language for the Deaf. In Act No. 108 of 1996: Section 29(2) stipulates that: "Everyone has the right to receive education in the official language or languages of their choice in public educational institution where that is reasonably practicable". The first objective of this study was to investigate if the South African Sign Language (SASL) was a fully-fledged language and to find out more about the present status of this language. The second objective was to examine if South African Sign Language was taught to Parents of Deaf children from the Zulu hearing community's point of view. Marcel Jousse; a French Jesuit Anthropologist and linguist, firmly believes in the anthropology of geste, which is synonymous with the anthropology of mimicry. This theory forms the basis of language acquisition of all peoples of the world. "The oral style with its mnemotechnic devices only comes into play once the individual has been informed by a reality which he receives and replays through his mimic being as a whole, (Fanning (1995:vii). This theory best describes the manner in which signers acquire their sign language, which solely depends on gestures made in the space by hands, body movements and facial expressions. In this theory, the anthropos plays out the receptions of the universe, replays them, stores them and revivifies them in expressions that are the mimisms of the whole human compound: corporeal, ocular and auricular manual. Unfortunately, the laryngo - buccal mimism is excluded in deaf people since they cannot speak. A multi-disciplinary approach from the educational, linguistic, historical, political and cultural perspectives was employed in collecting data for this study. The samples for the study comprised deaf learners, deaf educators, and hearing educators in schools for the deaf, interpreters of sign language, senior management from the schools of Deaf learners and parents of the deaf children. The researcher discovered that very little has been done by researchers and the government of the day to assist the deaf to gain recognition in his or her community. Parents of deaf children are unable to communicate fully with their children. The study also revealed that deaf children prefer to be taught by deaf teachers because they can identify much better with them. The researcher discovered that literature for the deaf is non-existent in all spheres of their lives. Sign language per se, is not taught as a subject. Deaf learners are not allowed to take their subjects at a Higher Grade; as a result, they feel extremely marginalized by the educators. Promoting this language would improve our trade and industry, travel & tourism etc. Student exchange programmes would also enhance the development of the sign language locally, nationally and internationally. The Deaf would become multilingual in the Sign Languages of the world when they come into contact with Deaf people from other parts of the world. This would involve sport, education, politics and other activities. The deaf would be equipped to meet various challenges in life. The Deaf people need to communicate freely amongst themselves and the hearing community of our country should make an effort to learn the Sign Language so that they are able to communicate with the deaf. This would improve the socio-economic status of our country. / Thesis (Ph.D)-University of Durban-Westville, 2004.

This study investigates the content of izigiyo (specified personified solo dance songs) texts that Zulu women perform at social occasions in KwaQwabe, a rural area near KwaDukuza (Stanger) in Northern KwaZulu-Natal, South Africa. Though this study focuses on izigiyo, the KwaQwabe have different oral performances that are performed at specific social occasions. In the KwaQwabe area there lives people who practise subsistence farming. The common crops that they (especially women) grow are maize, beans, groundnuts and imifino (herbs). The cattle and goats that the KwaQwabe men keep are mostly slaughtered for the amadlozi rituals. The study proposes that izigiyo as oral texts are largely responses to issues of heritage, culture, women abuse and domestic violence that lead to pent-up emotions, envy, witchery, gossip, and malpractices that can destroy a community-oriented life-style (Turner, 1998) that features in most African communities. The study hypothesises that Zulu women of KwaQwabe need to be treated with dignity and inhlonipho (respect) within the parameters of the Zulu tradition (Msimang, 1975). The study explores issues surrounding the izigiyo performance in order to establish whether Zulu women have always been silent (Bukenya, 2001) when it comes to issues that affect their lives, pertaining to issues that impinge negatively on their lives (Gunner and Gwala, 1991). The intended receivers of the messages (Ndoleriire, 2000) are always implied in the izigiyo texts and aim at serving as social regulators (Gumede, 2000). The language of izigiyo is in most cases metaphorical so as to avoid confrontation. In the midst of the izigiyo expression men and women relay their perceptions, experiences, and feelings about the way of life in their families and communities at large. This study, however, limits itself to the izigiyo texts that are enacted by Zulu women and does not include men’s. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.

The thesis underpinning this dissertation is based on the Zulu people’s belief in the living-dead and the fact that the latter control the lives of their living descendants. The living descendants use names to express their dissatisfaction with one another. The families perform rituals to appease the living-dead. The living-dead are perceived as guardian angels who are closer to God. They are believed to be able to reward good behavior and reprimand those who are not behaving in an acceptable manner. Names, as Bhengu (1975:52) states, connect people to their living-dead. It is therefore important that this relationship with the living-dead is maintained. Friction is always going to be a problem in polygynous families. Avoiding confrontation is important to people who want to appease their living-dead, who control their lives. Personal names act as a deterrent to angering the living-dead. In a situation where getting even is not an option, opting for a name to voice your disapproval is the easy way out. Names become communication channels between members of the family and the community at large. This study is done from an ethnographic perspective with an attempt to fully describe a variety of aspects of a cultural group to enhance understanding of the people being studied. Spradley (1980:3) states that “The essential core of ethnography is the concern with the meaning of actions and events to the people we seek to understand”. This understanding may be seen as the basis of the method; through ethnographic study, the researcher comes to comprehend, through detailed observation, the existences of peoples and their cultures. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

Selected animal- and bird- proverbs as reflectors of Indigenous Knowledge Systems and social mores: a study from Zulu language and culture is a research that focuses on the human-animal and bird interface to explore the role animals and birds play in the manifestation of a composite picture of Zulu society. This research also proposes to investigate various concepts related to animal and bird metaphors as manifested in the images of proverbial metaphors with an objective of examining the philosophical thought, moral values and attitudes ofZulu society. The primary objective ofthis research is to contribute to an understanding of the ways in which humans use animal and bird behaviour in constructing healthy social relationships as well as meaningful social coexistence. This research is conceptually based on the nature of language as a symbolic representation of reality. It attempts to do a critical interpretation of images reflected in proverbial metaphors with the help of international theories which might be applicable to a Zulu situation as well as oral testimonies of local informants as the research is based on local concepts. Language is the expression of human communication through which knowledge, belief, and behaviour can be experienced, explained and shared. This makes language the most efficient means of transmitting culture, and it is the owners of that culture that lose the most when a language dies. Every culture has adapted to unique circumstances, and the language expresses those circumstances. Identity is closely associated with language. What we talk about, think, and believe is closely bound up with the words and symbols we have, so the history of a culture can be traced in its language which is a major form of human communication and interaction. Recognition of Indigenous Knowledge Systems is being encouraged in most parts of the world as it enriches and enhances indigenous peoples' self esteem. In Mrica for instance, the recognition of indigenous peoples together with their Indigenous Knowledge Systems seems to have given rise to a concept called 'African Renaissance' which implies the renewal or the regeneration ofthe African continent. Indigenous Knowledge Systems are vital in teaching us different ways of thinking about life, of approaching our day-to-day existence on the environment. Recognising and developing these traditional knowledge systems might help indigenous peoples all over the world preserve their traditional knowledge about the environment as well as their cultural identities ofwhich language is a major component. Language and human identity are inherently linked and inseparable. For many people, like the Zulu, the loss of language may bring loss of identity, dignity, sense of community and traditional religion or spirituality, When language is lost, people of that particular language also lose the knowledge contained in that language's words, symbols, grammar and expressive elements such as proverbial metaphors and indigenous aphorisms that can never be recovered if the language has not been studied or recorded. Selected animal and bird species form the basis ofthis research on account of their direct link on Zulu people's culture, indigenous medicine and language reflected through proverbs and idioms. For example, images of the big four of the wild which are: the lion, leopard, buffalo and elephant, and are commonly known as the favourites of the Zulu royal house are used in the presentation ofthe symbolic figure ofKing Shaka. A society is formed by a common culture and language, and is moulded by acceptance of rules, customs, ways of life and moral responsibility that promote ideas and ideals that secure the survival of society. The understanding of such a background context about a society helps for a better analysis of its literature, particularly proverbs. Proverbs are the most valuable source for the understanding of a society because they are the reflection of a society from which they originate. Proverbs, as the product of an entire society, need to be studied in society and society through them. Proverbs are concerned with people's behaviour an~ attitudes as they relate to the treatment of persons through the use of moral principles and by giving a device for providing guidance for people's lives. Proverbs are also an oral thread that permeates throughout both tradition and culture in order to manifest the golden heritage invested in these genres. They also serve as a code for establishing standard in ethical and moral behaviour. Ethical behaviour is a normative principle that ensures ease of life lived in common as it acknowledges both the rights and the responsibilities of every citizen in promoting individual and societal well-being. There are several proverbs directed primarily at instilling basic values of honesty, sharing, gratitude and respect to children. Adult members of society seem to have a binding duty of instilling good habits of behaviour, guidelines and boundaries in life towards self-discipline to the young generation and this prepares them to be responsible and considerate citizens in future. Communal responsibility in raising children is an African practice. A framework against which to examine the social manifestations of the phenomenon of food and eating together in Zulu proverbs is set out. Eating is one ofthe most basic of our human activities. Either we eat, or we die. Because food is so basic to life, it also takes on a rich symbolic importance. Different societies have developed rituals around food and it plays a prominent role in various different religions. We do not simply eat to satisfy a physical need to stay alive. Our eating together of meals goes beyond our physical actions. Food enriches our enjoyment of life and is central to the development ofany human culture and social relationships. Responsible behaviour is the epitome of this research. The Zulu place a high value on responsible behaviour in building an individual's reputation. Responsible behaviour makes social relationships healthy and successful in a holistic manner. The goal ofthis research is to assist in the development of moral, compassionate and fairminded persons who can make positive contributions to society as individuals and as members of society who honour good conduct as an intrinsic value. Every society desires individuals whose actions reflect their integrity and a deep sense of social responsibility. Chronically irresponsible individuals who are inconsiderate seem to become targets of proverbs. Several proverbs referring to animals and birds admonish irresponsible behaviour. For instance, an image of a dog is often used to characterise deceitful and irresponsible behaviour while an image of a bird figures in several proverbs that implicate interpersonal decoru Social life in Zulu culture is based on reciprocal or communal sharing, principles dealing with proper disposition of valuables such as ritualised meat and food. Several of the corpora of this study give guidelines and etiquette of sharing such food. Rituals to link the living community with the community of the dead reflect the inextricable bond between the two communities. Proverbs are therefore, considered an essential catalyst or a common vehicle through which a society can renew and reinforce its values, and restore a sense of pride, dignity and respect amongst its members as they stress the task of nation building in the context of joint action towards the eradication of antisocial practices which do not promote sustainable social relationships as well as survival of society. This research concentrates on the regeneration and re-norming of society through the formulation, propagation and restoration of values reflected by selected animal and bird proverbs. Facilitating the realisation of the moral society through the regeneration of moral values is possible through the realisation ofthe essence ofresponsible behaviour in the minds and hearts of people. This means that reconstructing an environment permeated by a regenerated ethical behaviour which encapsulates credibility, respectability, responsibility, loyalty, cooperation and communal sharing of values provides a paradigm shift to give society a new direction towards a communal dedication to helping each other do our best. / Thesis (Ph.D.) - University of Natal, Pietermaritzburg, 2003.

This research is entitled "The historical representation of the praise-poetry of the two Zulu kings, Dingane and Mpande." In this study the researcher is trying to explore the ways in which history is portrayed in these two above mentioned kings. This is done firstly by looking particularly at their historical outlooks and secondly by looking at their praises. In traditional Zulu society, every Royal king has to possess praises. Therefore the praises basically contain historical events. The analysis of the findings reveals that king praises contain largely of the heroic deeds, body features and characteristics of the kings. Based on this statement it therefore stands to reason that the king praises cannot be considered merely as a complete history of the Zulu kings. The data collection was carried out through interviews and through reading books for each king. It must be noted that the king praises are only performed by a bard/imbongi. The king praises serve as a mirror that detects how the king live and perform the duties of the nation. / Thesis (M.A)-University of KwaZulu-Natal, 2007.

B.W. Vilakazi is regarded by many literary critics as the best poet of his time, who had he lived longer, would have marked his living years the Vilakazi era. It is for this reason that I decided to embark on the study of his poetry, and that which influenced him, mainly the English Romantic Poets. In doing this research I also emphasised typical aspects of Romantic poets so as to clarify whether Vilakazi does fall under this category (Romantic category). In the introduction of Inkondlo kaZulu Gumede remarks thus on B.W. Vilakazi's poetry: "UVilakazi tstqungo sokwakha izosha lezi usithole esiblgisini. Usebenzisa isiZulu kanye nemizekeliso yaso namalutha, ekhombisa ithuba lokuqhuba isiZulu sibe nenkinga yaso yezincwadi noma izosha lezi zincikile esiNgisini. Ube nesibindi sokuzisukela aqambe lolu hlobo lwezibongo zesiZulu wangagudluka endleleni endala." (l935:vi) "Vilakazi gets his poetic inspiration from English. He uses Zulu images and superstitions to show that Zulu can have its own literature even though it is related to English. It is very brave of him to compose new genre in Zulu praises, without diverting from the original version by older poets." The scope of the study will be as follows: Chapter One is an introductory chapter which includes: the aim of the study; preamble, literature review, research methodology, biographical notes on Vilakazi, Vilakazi's literary works (novels, anthologies of poetry, articles in journals), Vilakazi's lexicographical work (the Dictionary), Vilakazi's influences (his own personal experiences, traditional poetry, traditional prose narrative, Biblical influences and mostly the English Romantic Poets). This chapter includes the definition of Poetry and the definition of a poet, definition of a Bard 'Imbongi', it also defines Romanticism (as a movement and as a concept); and it gives various critical views on RW. Vilakazi. Chapter Two deals with the influence of English Romantic Poets on Vilakazi, and looks at certain poems of Wordsworth, Keats and Shelley. Chapter Three deals with Vilakazi as a Romantic poet (certain Poems with Romantic aspects). Chapter Four is the Conclusion looking at the extent that the Romantic poets influenced Vilakazi's writing. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

The study concentrate on a critical analysis of Elliot Zondi's historical dramas, Insumansumane and Ukufa KukaShaka. The study constitutes an attempt to apply the theoretical approaches. The plays have been chosen only for reasons of my personal acquaintance. The whole study is divided into six chapters. Chapter one focuses on the general introduction. The general introduction will cover the aim of the study, research methodology, historical background of the plays, definition of terms and the biographical notes of the author. At the end of this chapter there will be a conclusion. Chapter two, deals with theme. The theme covers the following sub topics: title in relation to theme, the comparison between the theme and plot, theme and style, theme and dialogue, theme and characters, types of themes such as: theme of loyalty, theme of poverty, love, political violence and the moral lesson found in Elliot Zondi's historical drama books. Chapter three concerns itself with style and dialogue. Style and dialogue will look at the sentence construction, language, figures of speech, title and symbolism. Chapter four concentrates on plot and characters, which covers exposition, motoric moment, conflict, complication, tension, climax, suspense in the title, beginning, the middle and the end of the play, characterization, naming of characters, types of characters, kinds of characters and the development of characters. Chapter five deals with setting, which covers time, place and social circumstances. There will be a short summary, which leads to the discussion of the following chapter. Chapter six focuses on the general conclusion. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

No abstract available. / Thesis (M.A.)-University of Natal, Durban, [1959?]