Thesis--Copenhagen. / At head of title: De recentiorum interpretatione pindarica. "Argumentum": p. [313]-326.

Thesis (Doctoral)--Uppsala Universitet, 1994. / English with text of poems in Latin and English on facing pages. Includes bibliographical references (p. 282-302) and indexes.

Thesis (Doctoral)--Uppsala Universitet, 1994. / English with text of poems in Latin and English on facing pages. Includes bibliographical references (p. 282-302) and indexes.

The performance of Xhosa mbongis (no correct English equivalent is available for the Xhosa bard / praise singer) is an interesting art form presentation by some individuals found in the Xhosa community. What is of interest is the fact that such artists are known to be the voices of their communities, heralding socio-cultural and historical norms and achievements. In the olden days, such figures were commonly found in the royal circles of headmen, chiefs and kings. Nowadays, urbanization has brought them into the township where they are gradually assuming different roles of not only focusing on the royal houses, but also in all community leaders as well as non-leaders of the community. Initially they used to earn their reputation through the kings or councils stages / platforms, but these days they also acquire such reputation through media and in any socio-political gatherings. They used to win awards and presents while nowadays they charge appearance fees. It is being changed into a profession albeit without any sort of academic accreditation. In the Nelson Mandela Metropolitan township, a number of such mbongis have mushroomed much against the likings of some purists cultural practitioners. The purists accuse them of being drunk with greed. Perhaps the accusation is justified and perhaps not. What is most notable is the fact that mbongis recite whenever they are asked to do so, something which is not acceptable to purists who believe that an imbongi is called forth to perform when the spirits instruct him or her to stand up and bonga. Whatever the case may be, many of such mbongis appear mostly in funerals, of known and unknown figures and so to many people, they make mockery of such a solemn talent. It is against this background that the researcher felt the need to look into this literary art-form as being presently performed by a township imbongi. The first chapter will deal with introduction, aim of study and method of research. The second chapter will provide a review of oral poetry and a poet in Xhosa writings, the nature of traditional imbongi his or her role in traditional and modern society. The third chapter will give the analysis of content, form and style of two recited poems by two different imbongis. The fourth chapter will provide a brief conclusion on how we view modern traditional imbongis and oral poetry

A dissertation submitted in fulfillment for the requirements of the Degree of Master of Arts in the Department of African Languages at the University of Zululand, 2001. / An investigation into Zulu poetry.

Universität Tübingen, Habil.-Schr., 2006.

Thesis (Ph. D.)--University of Chicago, Dept. of Near Eastern Languages & Civilizations, March 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008. / Advisers: John H. McDowell; Hasan M. El-Shamy. Includes bibliographical references.

D.Litt. et Phil. (African Languages) / The aim of this thesis is to examine praise poetry in Xitsonga (Tsonga) and other related aspects of verbal art. Praise poetry in Xitsonga (Tsonga) covers a very wide field of study as in other South African languages and seven chapters are devoted thereto in this study. In Chapter 1 an overview is given of the aim of the research. A comparative overview of praise poetry in ether African languages is also given. Chapter 2 deals with approaches and the methodology of the research and other topics. The performance approach and other complementary approaches are included. Chapter 3 is devoted to verbal art in general. The purpose of this chapter is to make one aware that praise poetry is a branch of verbal art. A few examples are analysed. Chapter 4 discusses praise poetry In Xitsonga in detail in socio-political, educational, socio-cultural, religious communication and economic contexts. Finally, mass media communication is discussed, for example, boast praise poetry by radio announcers and regular callers. Chapter 5 concentrates on the textual features of praise poetry in Xitsonga. This chapter aims to investigate some of the literary features and other linguistic or stylistic features, to indicate that they are also found in Xitsonga. Chapter 7 is the conclusion of the study, where the findings are summarised briefly.

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.