This study attempts to define more clearly the concepts 'flat character' and 'round character' by examining instances of Sepedi literature. Definitions provided by theorists are in most cases vague and may lead to unsatisfactory interpretations. The best examples in this instance are the definitions provided by Forster - they create problems particularly with references to the concept 'round character'. Forster's definition creates the impression that the difference can be based on the manner of characterization. In this investigation, attention is thus paid to characterization, while it is pointed out that these concepts are not to be confused with the concepts 'antagonist', 'protagonist' and 'tritagonist'. The latter types of characters are classified as structural elements while the former are thematically important. The Sepedi literary works chosen for the purposes of this study represent the four most important prose genres in Sepedi. Tsebe's Noto-ya- Masogana ( 1954) is the representative of the category 'love story'; Kekana's Nnete Fela (1989) is a detective story; Rammala's Lukas Motsheletshele (1963) and Mphahlele's Letsogo Ia Molao (1984) are tragic narratives , while Phatudi concentrates on and describes elements of pathos in his Tladi wa Dikgati (1971 ). The characters in Tsebe and Kekana's narratives are flat. Whereas Tsebe's Lesibana is portrayed as a multidimensional character, Ariel in Kekana's detective story is presented as one - dimensional. According to the definitions of Forster, Lesibana could be classified as a round character and Ariel as a flat character. The problem that surfaces in this instance also becomes manifest in the investigation into Rammala, Mphahlele and Phatudi's works. Rammala's Lukas Motsheletshele and Mphahlele's Faro are multidimensional characters as opposed to Phatudi's Tladi who is onedimensional, yet all of them are round characters. The distinction that can be drawn between the concepts 'flat character' and 'round character' has to do with humaneness. The reader's identification with the flat charater is based on the reader's ability to distinguish between good and evil, while an understanding of and a feeling for fellow human beings determine identification with the round character. The author brings about this identification process by using a variety of literary devices. In this thesis, a great deal of emphasis is placed on the theme of each of the mentioned works and on how this theme determines the character types. The concept of 'identification' is a central issue in this study and has thus been explained in detail. The specific literary devices used by the author to bring about this identification have thus also been carefully investigated and discussed. It was discovered that characterization as such does not determine whether characters are flat or round; instead, this is determined thematically. / Thesis (PhD)--University of Pretoria, 2002. / gm2014 / African Languages / unrestricted

In this thesis, an attempt is made to divide the Sepedi love story as 'light' reading matter into different subgenres. In order to do this, a distinction has to be made between 'light' and 'serious' reading matter. In short, this distinction amounts to the following: -- The love story as 'light' reading matter deals with problems of love that are resolved and the story ends on a happy mate. The conflict is between 'good' and 'bad' and the characters are portrayed accordingly and are hence flat characters. There is more emphasis on action than on characterisation. Suspense is built up by a series of problems that prevent the lovers from meeting each other. The problems are gradually resolved and the story has a happy ending. -- The love story as 'serious' reading literature emphasises problems in life rather than problems of love. The characters are portrayed fully in their exposure to the storm and stress of life. The love affair being depicted is headed for disappointment, and the ending is often tragic. In Sepedi literature, the love story as 'light' reading matter (or entertainment literature) is divided into five subgenres, i.e. the love story as (a) a moral story, (b) a subdivision of the detective story, the romantic mystery of Ramsdell (1999), (c) the ethnic or multicultural romantic story, (d) the historical love story, and (e) the true love story. In the love story as a moral story, there is a strong focus on the loyalty of the lovers. Where there is infidelity, the good relationship can only be restored if the guilty one received his punishment. Example of this are Noto-ya-Masogana (Tsebe, 1954), Morweši (Motuku, 1969), Tshehlana ya ka (Bosoma, 1990) and Sesasedi sa katlego (Kekana, 1990). In the love story as a subdivision of the detective story, the intrigue (of love) is used to intensify the secret in the detective story. Kekana's Nonyana ya Tokologo (1985) and Nnete Fela (1989) are two suitable examples in which the attitude of the heroine prevents a quick unravelling of the problem. In the ethnic or multicultural love story, the happy ending is delayed by the fact that the lovers do not belong to the same ethnic or cultural group and because the love affair is under social and cultural pressure. Megokgo ya Lethabo (1992) is an example of such a story in which the lovers are a Mopedi and a Motsonga respectively, and the young man's family was not at all in favour of the relationship. In the historical love affair, the conflict in the story is intensified by the difference between the traditional and the present-day outlook on life. This subgenre differs from the previous one in that the conflict originates within the same ethnic or cultural group and in that it is the result of the changes that have, amongst other things, been brought about by urbanisation. An example of this subgenre is Rafapa' s Leratosello (1978). The true love story shares many of its characteristics with the love story as a moral story, as the conflict is also between 'good' and 'bad' characters. In this subgenre there is, however, no place for peace; the 'good' is not used to emphasise the moral. Examples of this are Leratorato (Motuku, 1977), Lerato (Ramokgopa, 1978) and Le Lerato (Moloisie, 1986). / Thesis (DLitt (African Languages))--University of Pretoria, 2006. / African Languages / unrestricted