A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree of Master of Arts / This dissertation shows how both poets and their audiences have played a central role in the emergence of Durban Worker poetry. A review of critical responses to worker poetry concludes that insufficient attention has been paid to questions of audience. Performances of worker poetry are analysed, highlighting the conventions used by the audience when participating in and evaluating the poetry, Social, political and literary factors which have influenced the audience of worker poetry are explored, as are the factors which led to the emergence of worker poetry. In discussing the influence of the Zulu izibongo (praise poetry) on worker poetry, particular attention is paid to formal and performative qualities. The waye in Which worker poetry has been utilised by both poets and audience as a powerful intellectual resource are debated. Finally, the implications of publishing worker poetry via the media of print, audio-cassettes and video-Cassettes are discussed. / Andrew Chakane 2019

Thesis (M.A. (African Languages)) --University of Limpopo, 2015. / This research ‘Nxopaxopo wa switlhokovetselo hi ku kongomisa eka tsalwa ra Swilo swa humelela’ hi KJ Ngobeni na SJ Malungana highlights what happens in schools nowadays in the era of democracy. There is lack of discipline in schools. Educators are not respected by learners. Circuit managers no longer pay visits to schools for inspection. Black people fought to dismantle separate development, racial segregation and in particular to overthrow the white minority regime commonly known as Apartheid. This research also gives the historical background of protest poetry, its characteristics and its causes. Lastly, we analyse twenty selected poems from Swilo swa humelela by K.J Ngobeni and S.J Malungana. This research consists of five chapters. Chapter one outlines the background to the research, its aim and definition of important terms used in the study. These are terms about poetry such as protest poetry, enjambment and rhetorical questions. This chapter will also present the literature review. Chapter two examines the research methodology used in the study. Explication of two types of research methods, namely qualitative and quantitative research methods are discussed. Chapter three deals with protest poetry in details, its characteristics, origin, causes and its functions. Chapter four gives a critical analysis of twenty selected poems from the book Swilo swa humelela by K.J Ngobeni na S.J Malungana. Chapter five looks at the general conclusion, which indicates the research findings and recommendations of the study.

This thesis is a critical examination of the poetry of S. M. Bums-Ncamashe. In his poetry Bums-Ncamashe handles poems of different categories; namely praise poetry, elegiac poetry, didactic poetry and protest poetry. He also employs a number of devices that determine amongst others, the form and imagery of his poetry. They are also used to add clarity to the meaning of his poetry. All this is discussed in the chapters numerated below: Chapter one outlines the basic guidelines to be followed in this study. It presents the aim of the study, scope of the work and method of research. A definition of the concept poetry is also provided in this chapter. The biography of Bums-Ncamashe and the influence of his background on his poetry are also part of this first chapter. Chapter two discusses the characteristics of Bums-N camashe' s praise poetry and the functions this poetry fulfils. Chapter three is a discussion ofBums-Ncamashe's elegiac, didactic and protest poetry. Chapter four discusses the devices that determine the form ofBums-Ncamashe's poetry. These include repetition, contrast, compounding, ideophones, and interjectives. Chapter five concentrates on imagery and other aspects of Bums-Ncamashe's poetry. Imagery is discussed from the viewpoint of simile, metaphor, personification and symbolism. Also included in this chapter is euphemism, hyperbole, idiomatic expressions, humour, satire and adaptation. Chapter six is a concluding chapter in which some findings and recommendations from the entire study are reflected upon. / African Languages / D.Litt. et Phil. (African Languages)

This thesis is a critical examination of the poetry of S. M. Bums-Ncamashe. In his poetry Bums-Ncamashe handles poems of different categories; namely praise poetry, elegiac poetry, didactic poetry and protest poetry. He also employs a number of devices that determine amongst others, the form and imagery of his poetry. They are also used to add clarity to the meaning of his poetry. All this is discussed in the chapters numerated below: Chapter one outlines the basic guidelines to be followed in this study. It presents the aim of the study, scope of the work and method of research. A definition of the concept poetry is also provided in this chapter. The biography of Bums-Ncamashe and the influence of his background on his poetry are also part of this first chapter. Chapter two discusses the characteristics of Bums-N camashe' s praise poetry and the functions this poetry fulfils. Chapter three is a discussion ofBums-Ncamashe's elegiac, didactic and protest poetry. Chapter four discusses the devices that determine the form ofBums-Ncamashe's poetry. These include repetition, contrast, compounding, ideophones, and interjectives. Chapter five concentrates on imagery and other aspects of Bums-Ncamashe's poetry. Imagery is discussed from the viewpoint of simile, metaphor, personification and symbolism. Also included in this chapter is euphemism, hyperbole, idiomatic expressions, humour, satire and adaptation. Chapter six is a concluding chapter in which some findings and recommendations from the entire study are reflected upon. / African Languages / D.Litt. et Phil. (African Languages)

M.A. / This dissertation investigates the work of black women poets in South Africa during the period 1970 - 1991, within the context of race and gender politics. The period 1970 - 1991 represents the approximately two decades in which black poetry became recognised as an important development in South African literary studies. Although several studies of the work of black male poets have been written, hitherto no substantial study of the writings of black women poets, in particular, has been undertaken. Although relatively few black women poets published their work during this era, when compared to their male counterparts, this critical survey will attempt to give a broad overview of the poetry black women produced. Focusing on poetry written in English, this dissertation will argue that the majority of black women poets writing during this period harnessed their writing to the anti-Apartheid or liberation struggle in South Africa. Many of these poets regarded their writing as a 'cultural weapon' which could contribute to political transformation, and although few regarded themselves as 'feminist' poets, their poetry reveals a deep concern with gender oppression as well as racial and class oppression. Chapter one, the introduction, focuses on the way in which black South African women poets have been largely ignored, neglected and 'silenced' by the majority of critics. This chapter will also consider some of the factors that may have prevented more black women from producing and publishing poetry: social factors such as education, literacy and access to publication will be explored. The second chapter explores the emergence of South African 'protest poetry', and focuses on the poetry of Jennifer Davids and Gladys Thomas in relation to the 'protest' tradition. It will be argued that while poet Gladys Thomas defined her writing in terms of 'protest' literature, Jennifer Davids produced a more introspective, personal poetry that was primarily concerned with the difficulties of 'finding an individual voice' in the South African environment. The third chapter focuses on the more intensified phase of 'protest poetry' which was produced after 1976 by the growing culture of literary activism in the black townships, and will show how women poets write of the suffering specific to township women. This chapter will also focus on an analysis of gender oppression within the poets' own homes and communities, as well as celebrations of political activities by women. In particular, this chapter concentrates on women's poetry published in the literary magazine, Staffrider, established to promote the work of black writers. The Trade Union Movement was a major influence on literary production during this time, as we shall see from the 'worker poetry' produced by many women in the 1980s. Chapter four will concentrate on the poetry produced by black South African women in exile, most of whom were active in the ANC. It will be argued that rather than producing introspective poetry about the condition of exile, these women harnessed their writing to `the struggle'. This poetry can broadly be defined as 'resistance' or 'liberation' poetry. Some of these poets also explore the issue of gender in relation to liberation politics.

In the Apartheid South Africa, repression and the heightening of the Blacks' struggle for political emancipation, prompted artists to challenge the system through their music, oral poetry and writing. Most produced works of protest in English to reach a wider audience. This led to the general misconception that literatures in the indigenous languages of South Africa were insensitive to the issues of those times. This study seeks firstly to put to rest such misconception by proving that there is Commitment in these literatures as exemplified in the poetry of S.F. Motlhake. Motlhake not only expresses protest against the political system of the time, but also questions some religious and socio-cultural practices and institutions among his people. The study also examines his selected works as genuine poetry, which does not sacrifice art on the altar of propaganda. / African Languages / M.A. (African Languages)

In the Apartheid South Africa, repression and the heightening of the Blacks' struggle for political emancipation, prompted artists to challenge the system through their music, oral poetry and writing. Most produced works of protest in English to reach a wider audience. This led to the general misconception that literatures in the indigenous languages of South Africa were insensitive to the issues of those times. This study seeks firstly to put to rest such misconception by proving that there is Commitment in these literatures as exemplified in the poetry of S.F. Motlhake. Motlhake not only expresses protest against the political system of the time, but also questions some religious and socio-cultural practices and institutions among his people. The study also examines his selected works as genuine poetry, which does not sacrifice art on the altar of propaganda. / African Languages / M.A. (African Languages)