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A critical analysis of M E Ngcobo’s sociological radio playsZulu, Timothy Badwini Mhlasilwa January 2010 (has links)
Submitted in the fulfillment of the requirements for the degree of the DOCTOR OF PHILOSOPHY In the Department of African Languages, at the University of Zululand, 2010. / This study gives the critical analysis of Ngcobo’s sociological radio plays. The written
plays are examined. The work is arranged as follows:
Chapter one is the general introduction of the study. It paves the way the study will be
conducted which includes among other things; hypothesis, aim of study, scope of study,
definition of concepts, research methodology, theoretical approaches to the study, the
characteristic nature of radio drama, an influence of traditional drama and the synopsis of
all serial radio plays.
Chapter two explores the various theoretical approaches that are applicable in such the
study of radio plays; inter alia; sociological, structuralism, reader, moral – philosophical,
reception, intention, historical – biographical, semiotics and New Criticism approaches.
Chapter three looks at the understanding structure of the radio plays where amongst other
things explores the aspects of society that radio play addresses. It gives comparisons of
social aspects, social disorder / revolt and looks at how Ngcobo addresses such social
revolts in order to bring about social restoration.
Chapter four focuses on the comparisons of the radio plays with regard to style, temporal
which includes time and space. It further focuses characters / actors and narration.
Chapter five looks at the linguistic appropriateness of the radio plays. It seeks to ascertain
Ngcobo’s language how it suits his characters, situation, addresses the questions and
answers’ relationships as they crop up in the plays. Monologue as an integral part of
psychological process describes a mode of mental processes which include sadness,
elation and desolation as felt by characters. It assesses Ngcobo’s usage of dialogue and
also looks at other factors such as mood, place, sound effects, music and sound
effectiveness as important components that heighten the development of the play to the
horizons for its effectiveness. Chapter six deals with meaning and interpretation of the radio plays whereby it deals with
the intention, significance, emerging factors that arise further enhance the development of
the plays. Apparent and challenges that the playwright poses on his plays are also
highlighted.
Chapter seven is the concluding chapter. This looks at the thesis in its final analysis
which gives the summary, findings and observations. It examines the challenges and
contributions of the study with a critical overview and conclusions. Lastly it suggests
some future research on the study of serial radio drama by showing the important
elements as discovered in this study.
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Before and After the Bomb : A Study of Narration and Politics in Conrad’s The Secret AgentKarlsson, Tilda January 2016 (has links)
The aim of this essay is to investigate ways in which the narrative in Joseph Conrad’s The Secret Agent reflects the political views within and around the novel. The narrative focus of the essay is plot-structure and focalisation, and the political focus circles around anarchy and anarchism. The essay discusses how the anarchist’s belief in individual freedom and Conrad’s scepticism towards politics is reflected in the novel’s narration. I also discuss how the narrator uses irony to reflect Conrad’s scepticism.
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Sign and structure : a semio-structural approach to the short stories o D.B.Z. Ntuli's IsibhakabhakaNtuli, C. D. (Cynthia Danisile), 1959- 11 1900 (has links)
Chapter 1 outlines the aim of the study, research methodology, delimitation of
scope and the definition of some terms. This is followed by a list of Zulu short
stories which Ntuli has already contributed. His other contributions in circles
outside the writing of fiction are also acknowledged. Finally, tribute is paid to some
contributions made by Ntuli as an endeavour to uplift the standard of Zulu writing.
In Chapter 2 plot structure is discussed. This is followed by an in-depth semiotic
analysis of some short stories.
Chapter 3 deals with the different narration techniques employed by the author
in his short stories.
Chapter 4 differentiates between actors and characters. Different methods of
character portrayal are investigated.
Chapter 5 concludes this dissertation by summarising the main finding of this
study. It also brings forth some conclusions with regard to literary merit of Ntuli's
short stories and his contribution to Zulu literature. / African Languages / M.A. (African Languages)
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Sign and structure : a semio-structural approach to the short stories o D.B.Z. Ntuli's IsibhakabhakaNtuli, C. D. (Cynthia Danisile), 1959- 11 1900 (has links)
Chapter 1 outlines the aim of the study, research methodology, delimitation of
scope and the definition of some terms. This is followed by a list of Zulu short
stories which Ntuli has already contributed. His other contributions in circles
outside the writing of fiction are also acknowledged. Finally, tribute is paid to some
contributions made by Ntuli as an endeavour to uplift the standard of Zulu writing.
In Chapter 2 plot structure is discussed. This is followed by an in-depth semiotic
analysis of some short stories.
Chapter 3 deals with the different narration techniques employed by the author
in his short stories.
Chapter 4 differentiates between actors and characters. Different methods of
character portrayal are investigated.
Chapter 5 concludes this dissertation by summarising the main finding of this
study. It also brings forth some conclusions with regard to literary merit of Ntuli's
short stories and his contribution to Zulu literature. / African Languages / M.A. (African Languages)
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A study of D B Z Ntuli's radio trilogy : Isivumelwano, Isivumelwano Esisha and Ngenxa YesivumelwanoMaphumulo, A. M. 06 1900 (has links)
This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha
and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu
literary studies, this is an attempt to fill that void. This thesis provides some new
insight into this concept, while also devising a practical method for the analysis of
the radio trilogy.
Chapter one outlines the aim of the study, scope of the study and the definition of
some terms. This is followed by explaining the method of research and theories on
radio serial dramas. There is also a discussion of the historical background in the
development of Zulu radio serial drama and Ntuli's position and contribution to it.
Finally, there is a review of previous research studies in Aincan Languages on radio
drama.
In chapter two plot structure of a radio trilogy is discussed. Theories of drama
trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in
detail. This is followed by an in-depth analysis of the plot structures of
Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano.
Chapter three deals with the characterization of radio trilogy. It distinguishes
between the actors and characters. Different methods of character portrayal are
investigated.
Chapter four deals with perspectives on the theme of the radio trilogy. Types of
themes are dealt with.
Chapter five discusses the dialogue in radio trilogy. It deals with the differences
between a dialogue, duologue and monologue, and explains the functions fulfilled
by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic
of the dramatic action is discussed.
Chapter six concentrates on the style of radio trilogy. Elements and different types
of styles are discussed. Kinds of images, figurative language, proverbs, idioms,
biblical allusions and various influences are discussed in detail.
Chapter seven concludes by summarizing the main finding ofthis study, and giving
observations about the quality ofNtuli's contribution to radio drama trilogy. lt also
explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)
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Les nouveaux médias, ou, L’ère du labyrinthe intermédialSavoie, Ariane 06 1900 (has links)
Avec l’émergence des nouveaux médias, une nouvelle façon de raconter les histoires
s’impose. Les structures connues de l’esthétisme classique semblent désuètes par
rapport aux dispositions des nouvelles plateformes de diffusion. Mieux encore, ces
plateformes propulsent le récit, lui permettent de sortir de la rigidité de la ligne narrative :
elles intègrent la technique au logos. L’intermédialité devient omniprésente; la diversité
des types médiatiques employés dans une œuvre sont rendus visibles et sont articulés
par la mise en récit. Méchoulan dira que dans l’« être-entre », dans l’espace reliant
chacune des unités sémantiques, que l’événement de la pensée advient; pour Rodowick
c’est le « figural ». Une figure particulière s’impose : le labyrinthe. Multipliant les
possibilités narratives spécifiques aux nouveaux médias, le labyrinthe fait converger les
composantes intermédiales. Bleeding Through : Layers of Los Angeles 1920-1986, une
œuvre dirigée par Norman Klein, pose le labyrinthe comme élément structurel en y
tissant un réseau où s’inscrit une pratique intermédiale. On y adresse le temps comme
une opération fragmentaire, qui se sectionne, se réorganise en rompant avec la linéarité
classique. Il nous faudra alors voir comment le labyrinthe réfléchit dans l’étude du temps
certains éléments de la mythologie grecque. Les réflexions de Gervais sur le labyrinthe
permettront d’étayer pareille hypothèse. Nous analyserons Bleeding Through à la
lumière de ces théories pour ainsi dégager l’essence de cette figure qui a infiltrée la
narration contemporaine. En somme, le labyrinthe se présente dans l’écologie
médiatique actuelle comme une figure inhérente à la mise en récit. / With the emergence of new media, a new way of storytelling becomes necessary. The
known structures of classic estheticism become obsolete when confronted with the
dispositions of the new broadcasted platforms. These so called platforms propel the plot
structure, allowing an expansion of the rigid narrative line : they integrate technology into
the logos. Intermediality becomes omnipresent ; the diverse media summoned in the
different projects are made visible and articulated through narrative work. Méchoulan
would talk about the « être-entre », the virtual space linking semantic units, that the
occurrence of thoughts convene ; Rodowick would refer to this same spatial concept as
« figural ». A particular figure then appears and seems to illustrate the workings of
intermediality: the labyrinth. In multiplying the narrative possibilities specific to new
media, the labyrinth interrelates the intermedial components. Bleeding Through : Layers
of Los Angeles 1920-1986, directed by Norman Klein, establishes the labyrinth as a
narrative backdrop to the intermedial practice. Herein, time is addressed as a
fragmented function that can be segmented, reorganized, thus breaking with classic
linearity. Subsequently, elements of Greek mythology tied to the labyrinth’s imaginary
are highlighted, particularly through Gervais’s reflexions on memory and forgetting. To
question the essence of the labyrinth’s figure, which infiltrates contemporary narration,
Bleeding Through is analyzed under the scope of these theories. In short, the labyrinth
is presented as an inherent figure to storytelling within the current media ecology.
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Les nouveaux médias, ou, L’ère du labyrinthe intermédialSavoie, Ariane 06 1900 (has links)
Avec l’émergence des nouveaux médias, une nouvelle façon de raconter les histoires
s’impose. Les structures connues de l’esthétisme classique semblent désuètes par
rapport aux dispositions des nouvelles plateformes de diffusion. Mieux encore, ces
plateformes propulsent le récit, lui permettent de sortir de la rigidité de la ligne narrative :
elles intègrent la technique au logos. L’intermédialité devient omniprésente; la diversité
des types médiatiques employés dans une œuvre sont rendus visibles et sont articulés
par la mise en récit. Méchoulan dira que dans l’« être-entre », dans l’espace reliant
chacune des unités sémantiques, que l’événement de la pensée advient; pour Rodowick
c’est le « figural ». Une figure particulière s’impose : le labyrinthe. Multipliant les
possibilités narratives spécifiques aux nouveaux médias, le labyrinthe fait converger les
composantes intermédiales. Bleeding Through : Layers of Los Angeles 1920-1986, une
œuvre dirigée par Norman Klein, pose le labyrinthe comme élément structurel en y
tissant un réseau où s’inscrit une pratique intermédiale. On y adresse le temps comme
une opération fragmentaire, qui se sectionne, se réorganise en rompant avec la linéarité
classique. Il nous faudra alors voir comment le labyrinthe réfléchit dans l’étude du temps
certains éléments de la mythologie grecque. Les réflexions de Gervais sur le labyrinthe
permettront d’étayer pareille hypothèse. Nous analyserons Bleeding Through à la
lumière de ces théories pour ainsi dégager l’essence de cette figure qui a infiltrée la
narration contemporaine. En somme, le labyrinthe se présente dans l’écologie
médiatique actuelle comme une figure inhérente à la mise en récit. / With the emergence of new media, a new way of storytelling becomes necessary. The
known structures of classic estheticism become obsolete when confronted with the
dispositions of the new broadcasted platforms. These so called platforms propel the plot
structure, allowing an expansion of the rigid narrative line : they integrate technology into
the logos. Intermediality becomes omnipresent ; the diverse media summoned in the
different projects are made visible and articulated through narrative work. Méchoulan
would talk about the « être-entre », the virtual space linking semantic units, that the
occurrence of thoughts convene ; Rodowick would refer to this same spatial concept as
« figural ». A particular figure then appears and seems to illustrate the workings of
intermediality: the labyrinth. In multiplying the narrative possibilities specific to new
media, the labyrinth interrelates the intermedial components. Bleeding Through : Layers
of Los Angeles 1920-1986, directed by Norman Klein, establishes the labyrinth as a
narrative backdrop to the intermedial practice. Herein, time is addressed as a
fragmented function that can be segmented, reorganized, thus breaking with classic
linearity. Subsequently, elements of Greek mythology tied to the labyrinth’s imaginary
are highlighted, particularly through Gervais’s reflexions on memory and forgetting. To
question the essence of the labyrinth’s figure, which infiltrates contemporary narration,
Bleeding Through is analyzed under the scope of these theories. In short, the labyrinth
is presented as an inherent figure to storytelling within the current media ecology.
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The detective story in Venda : an analysis with special reference to Bono la mboni and Nwana wa mme angaMaungedzo, Avhurengwi Edward 06 1900 (has links)
Summary in English / The purpose of this research is to make a literary appreciation of the detective story in Tshivenda. Chapter 1 is the introductory chapter which discusses the aim of study, the definition of detective story, methodology, detective noels in Tshivenda, background information regarding the authors, summaries regarding selected novels and the scope of research. Chapter 2 is devoted to the plot structure of the two detective novels, and outlines the diegetic and meta-diegetic stories. The elements of mystery and dramatic irony are also discussed. Chapter 3 concentrates mainly on the setting of the two selected detective novels and its influence on the crimes committed, the lives of the characters and the tools that are used. Chapter 4 deals with the depiction of the victims, suspects and detectives in the selected detective stories. Chapter 5 concludes the study and summarises the main findings of the appraisal. / African Languages / M. A. (African Languages)
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A study of D B Z Ntuli's radio trilogy : Isivumelwano, Isivumelwano Esisha and Ngenxa YesivumelwanoMaphumulo, A. M. 06 1900 (has links)
This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha
and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu
literary studies, this is an attempt to fill that void. This thesis provides some new
insight into this concept, while also devising a practical method for the analysis of
the radio trilogy.
Chapter one outlines the aim of the study, scope of the study and the definition of
some terms. This is followed by explaining the method of research and theories on
radio serial dramas. There is also a discussion of the historical background in the
development of Zulu radio serial drama and Ntuli's position and contribution to it.
Finally, there is a review of previous research studies in Aincan Languages on radio
drama.
In chapter two plot structure of a radio trilogy is discussed. Theories of drama
trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in
detail. This is followed by an in-depth analysis of the plot structures of
Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano.
Chapter three deals with the characterization of radio trilogy. It distinguishes
between the actors and characters. Different methods of character portrayal are
investigated.
Chapter four deals with perspectives on the theme of the radio trilogy. Types of
themes are dealt with.
Chapter five discusses the dialogue in radio trilogy. It deals with the differences
between a dialogue, duologue and monologue, and explains the functions fulfilled
by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic
of the dramatic action is discussed.
Chapter six concentrates on the style of radio trilogy. Elements and different types
of styles are discussed. Kinds of images, figurative language, proverbs, idioms,
biblical allusions and various influences are discussed in detail.
Chapter seven concludes by summarizing the main finding ofthis study, and giving
observations about the quality ofNtuli's contribution to radio drama trilogy. lt also
explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)
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