The use of the mother tongue (MT) as a medium of instruction in schools is still a problematic subject of debate in South Africa and the continent at large. In most African countries, English remains the medium of instruction (MoI). This structured research sought to highlight the pros and cons of using mother tongue instruction in schools, specifically Northern Sotho, which is spoken by one of the ethnic groups in South Africa. Currently, in South Africa, children receive mother tongue education from grade one to three. In this study, the researcher argues that mother tongue should be used from grade one to twelve. For this study, the researcher relied on extant literature on mother tongue education. The concept of Cognitive Academic Language Proficiency (CALP) by Cummins (2001) was used to guide this study. The argument for mother tongue education is premised on the fact that it is crucial for the success and progress of children at school. As an example, studies have shown that children who are taught in their mother tongue such as Afrikaans and English, which remain the defacto mediums of instruction in the schools in South Africa, and French, German, Mandarin, etc. in other countries, excel in school and understand subjects such as Maths and Science better. / Ngangišano ya tšhomišo ya polelo ya gae bjalo ka polelo yeo e šomišwago go ruta dikolong e sa le taba ye bothata dinageng tše ntši le mo Afrika Borwa. Dikolong tše ntši mo dinageng tše, Seisemane ke leleme leo le sa šomišwago bjalo ka leleme la go ruta. Tlhamo ya nyakišišo ye e nyaka go gateletša bohlokwa bja go šomiša polelo ya gae bjalo ka polelo yeo e ka šomišwago dikolong, kudukudu Northern Sotho yeo e bolelwago ke ye nngwe ya dihlopha tša MaAfrika Borwa. Gonabjale mo Afrika Borwa, bana ba rutwa ka leleme la gae go tloga go mphato wa 1-3. Mo thutong ye, monyakišiši o nganga gore polelo ya gae e swanetše go šomišwa go tloga go mphato wa pele go fihlela go wa masomepedi. Thutong ye, monyakišiši o ipotile ka dingwalo tšeo di ngwadilwego ka ga thuto ya polelo ya gae. Kakanyo ya “Cognitive Academic Language Proficiency (CALP)” yeo e tlilego ka Cummins (2001) e tla šomišwa go tlhahla thuto ye. Ngangišano ka ga thuto ya leleme la gae e theilwe godimo ga nnete ya gore le bohlokwa kudukudu go katlego le tšwelopele ya bana sekolong. Bjalo ka mohlala, dithuto di bontšhitše gore bana bao ba rutwago ka leleme la gae bjalo ka leleme la SeAfrikaanse le Seisemane, ao e sa lego maleme a thuto dikolong mo Afrika Borwa, SeForentšhe, Sejeremane, SeMandarini bjalobjalo kua dinageng tše dingwe, ba dira mošomo wo mobotse sekolong gomme ba kwešiša dithuto tša go swana le Thutadipalo le Saense bokaone. / African Languages / M.A. (African Languages)

Basotho family odes (diboko) form part of oral literature, and refer to names of families, clans or totems. They constitute poetic compositions conveying information about clans' historical origin, philosophy and ancestors. The performance of this oral art form makes use of formulaic techniques such as linking, parallelism, alliteration, etc., which are commonly used in praise poetry. As basis to the content of these oral art forms, the genealogies of the various Basotho clans are discussed to show the reflection of the progenitor names in the clan praises. The functions of family odes are of educational, social and religious nature. Other functions include their use in compositions of other genres, such as, praise poems, mine workers' chants, traditional doctors' falls (mawa) and songs. The recitation of this oral art form is characterised by the instability of the texts, which takes the form of extensions, additions, truncations, improvisations and genre transitions. / African Languages / M.A. (African Languages)

Thesis (MA)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: This study assumes the theoretical framework of text construction as advanced by Grabe and Kaplan (1996) for the analysis of Sepedi texts of government speeches from the magazine: ANC TODAY. The theory that is used in this study invokes the linguistic elements that can be used by both the teachers and learners to critically analyse texts in classrooms. This genre-theoretic approach is employed as framework, for analysing the linguistic, rhetorical and discourse properties for Sepedi texts. It also addresses the parameters of the ethnography of writing advanced by Grabe and Kaplan: "who writes what to whom, for what purpose, why, when and how?' The text construction analysis executed in the study enable the learners to acquire skills, knowledge and values of outcomes-based language teaching. The information structuring of text analysis and construction enables learners to write, read and use language structure and conventions for learning and career pathways. The textlinguistic strategies for analysing written texts in language teaching enables learners to analyse texts successfully and gain an awareness of language use in texts. / AFRIKAANSE OPSOMMING: Hierdie studie aanvaar die teoretiese raamwerk van tekskonstruksie soos voorgestaan deur Grabe en Kaplan (1996) in die analise van Sepedi tekste van regeringstoesprake uit die tydskrif ANC TODAY. Die teorie wat aanvaar word, gebruik die linguistiese elemente wat aangewend kan word deur taalonderwysers sowel as taalleerders om tekste krities te ontleed. Die genre-teoretiese benadering word ingespan as raamwerk vir die analise van die linguistiese, retoriese, en diskoerskenmerke van Sepedi tekste. Dit spreek ook die etnografie van skryf, soos voorgestaan deur Grabe en Kaplan, aan: wie skryf wat aan wie, vir watter doel, wanneer, waarom, en hoe. Die tekskonstruksie analise uitgevoer in hierdie studie stel leerders in staat om vaardighede, kennis en waardighede van uitkoms-gebaseerde taalonderrig te verwerf. Die informasie strukturering in teksanalise stel leerders in staat om te lees, skryf en praat in hulle toekomstige beroepe. Die tekslinguistiese strategieë vir die analise van geskrewe tekste in taalonderrig stel leerders in staat om tekste suksesvol te ontleed en 'n bewussyn te ontwikkel van taalgebruik in tekste.

Thesis (MA)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: This study examines the presentation of race relations in two Sesotho novels written after 1994. The purpose of the study is to establish whether or not post-apartheid Sesotho novels present race relations as they were presented during the apartheid era. The novels of focus are, N.S. Zulu's Nonyana ya Tshepo (The bird of hope) (1997) and T.W.D. Mohapi's Lehfaba fa fephako (The pain of hunger) (1999). The manner in which the authors who wrote during the two distinct eras presented the issue of race and presented race relations will be the focal point. At the end of this study it should be clear whether or not authors after 1994, that is, after the apartheid era continue to present race relations in an idealistic manner. During the apartheid era authors such Lesoro (1968) and Mophethe (1966) were very cautious when presenting race relations in their novels. The common factor in these novels is the portrayal of the white Afrikaner characters by the authors. White characters were portrayed as very merciful, good Samaritans and their relationship with their black counterparts were often harmonious and crisis free. Attributes of race such as racial discrimination, racial hatred, racial conflict and racial intolerance were seldom spoken about in those novels. This is reminiscent of the notorious apartheid laws, which prohibit freedom of press. White characters in some novels published during the apartheid era were not characters derived from real life. In N.S. Zulu's novel, Nonyana ya Tshepo we examine the portrayal of the characters from the two distinct races, black Africans and white Afrikaners. The author portrays the two groups of characters to be what Scholes (1981 :11) calls characters representative of a social class, race and a profession. Black characters are portrayed as the exploited, which are always inferior, submissive and subjected to racial discrimination by their white counterparts. White Afrikaners are portrayed as the exploiters, who are superior, oppressors and the ones who further the policy of apartheid. This state of affairs prompted the black Africans to develop hatred towards the Whites. Instead of idolizing their masters, Blacks do the opposite. Our main character, Tshepo who is said to be fathered by the white Afrikaner, is marginalized by his fellow Blacks and declared an outcast. In T.W.D. Mohapi's novel, Lehlaba la lephako, the main character, Seabata who lusts for power and wealth is seen struggling for both at the expense of his fellow black Africans. Seabata is used by his white boss, Sepanapodi, to maintain the legacy of apartheid. The narrator portrays Seabata in such a way that he could carry out his boss' mission. Seabata is power hungry and always likes to please his boss to attain that, even if that means creating enmity with his own black people. Seabata's socio-economic status makes him vulnerable to manipulation by Sepanapodi. Seabata was advised by his father that he should always strive to please his master in order to gain glory and wealth. He followed the advice slavishly and that left him devastated. He found himself at loggerheads with his colleagues, with the pastor, Nkgelwane, with a local teacher, Mohanelwa and with his wife, Mmabatho. Conflict between Seabata and the community is caused by the pain of hunger. / AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om ondersoek in te stel of die twee Sesotho novelles wat na 1994 geskrywe is, die verhouding tussen verskillende rasse behandel. Die doel van die studie is om uit te vind of die Sesotho novelles wat gedurende die tydperk van apartheid die aanbieding van rasse-verhouding dek, soos wat dit aangewys was gedurende die tydperk van apartheid. Die ondersoek sal gedoen word met die vergelykking van twee novelles wat na 1994 geskrywe is, d.w.s. N.S. Zulu se Nonyana ya Tshepo en T.W.D. Mohapi se Leh/aba /a /ephako . Die manier waarop die twee skrywers wat gedurende die twee afsonderlike tydperk, die kwessie van rasse behandel, en hoe hulle dit aangebied het, sal die fokuspunt wees. Aan die einde van hierdie studie moet dit duideliker word aan die lesers tot watter mate die skrywers wat na 1994 geskryf het, d.w.s na die apartheid tydperk, nog die rasse-verhouding op 'n idealistiese manier aangebied het. Die skrywers wat gedurende die apartheid tydperk geskrywe het, soos Lesoro (1968) en Mophethe (1966) was baie versigtig toe hulle die rasse-verhouding in hulle novelles aangebied het. Die gewone faktor van hierdie novelles is die uitbeelding van die wit Afrikaners se karakters deur die skrywers. Wit karakters is altyd as baie barmhagtig, en as goeie Samaritane beskrywe, en hul verhouding teenoor hulle swart teenhangers is dikwels eensgesind en vry van krisis uitgebeeld. Die hoedanigheid van rasseonderskeiding wat rassehaat, rasse in stryd met mekaar, en rasse onverdraagsaamheid, is in daardie tyd seide van geskryf in die novelle. Dit herinner die leser aan die ongunstige apartheidswette wat nie vryheid van die pers toegelaat het nie. Wit karakters, in sommige novelle wat gedurende die tydperk van apartheid gepubliseer is, is nie karakters wat van die ware lewe afgelei is nie. In N.S. Zulu se novelle, Nonyana ya Tshepo word 'n uitbeelding gemaak van karakters van die twee afsonderlike rasse, die swart Afrikaners en die wit Afrikaners. Die skrywer beeld die twee groepe van karaktes as die wat Scholes (1981 :11) noem die wat verteenwoordigend van 'n sosiale klas, rasse en beroep is. Swart karakters is beskrywe as diegene wat geeksploiteer word, wat altyd as minderwaardige, onderworpe en mindere rasse beskou word. Hulle word gediskrimineer deur hulle wit landgenote. Wit Afrikaners is beskou as die eksploiteerders, wat die voortreflike onderdrukkers is en wat wat die beleid van apartheid laat voortgaan. Hierdie toestand het die swart Afrikaners gelei om haat te ontwikkel teenoor die Wittes. In plaas van om hulle meesters eer te bewys, het die swart Afrikaners die teenoorgestelde gedrag. Die hoofkarakter, Tshepo, wat geglo is dat hy kind van die wit Afrikaner is, is deur sy mense verban en as verworpeling verklaar. In T.W.D. Mohapi se novelle, Lehlaba la lephako het die hoofkarakter, Seabata, begeertes van mag en rykdom. Hy word opgelei as 'n stryder op koste van sy medemense, swart Afrikaners. Seabata is deur sy wit meester, Sepanapodi misbruik om die nalatenskap van apartheid te handhaaf. Die verteller beeld Seabata af op so 'n manier dat dit duidelik is dat Seabata sy baas se opdrag sou voortdra. Hy, Seabata het 'n wens om mag te he en bo alles om sy baas tevrede te stel op koste van ander swart Afrikaners, al maak dit hom 'n vyand van sy mense. Seabata se sosiale status het hom laat kwesbaar ge stel teenoor Sepanapodi se manipulasie. Sy vader het hom advies gegee dat hy altyd sy meester moes bevredig ter wille van glorie en rykdom. Hy het toe die advies van sy vader slaafs nagevolg, daarom het dit hom in 'n neerdrukkende gevoel laat eef. Aan die einde is hy in 'n konflik met andere soos sy kollegas, die plaaslike predikant, Nkgelwane, die onderwyser, Mohanelwa en sy vrou. Die stryd wat Seabata met al die mense in die gemeenskap het, is die oorsaak van hongersnood.

M. Tech. Language Practice / Sepedi is one of the eleven official languages spoken in South Africa. It is mostly spoken in Limpopo province and by the minority in other provinces. The National Language Policy (1997) states that indigenous languages should be used to provide equal access to public services and programmes amongst all citizens, thus, Language Policies of the spheres of governance, national, provincial and local, should be determined based on their needs and circumstances of its residents. This study strives to check whether Sepedi as one of the five official languages has been used to its full capacity in the Greater Letaba Local Municipality, Limpopo province, as a language for official communicative purpose. The municipality has five official languages. In view of the fact that Sepedi is one of these official languages of the Limpopo province, it deserves to be treated with the respect it ought to have.

The writing of this thesis has been stimulated by the clear understanding of the poet’s resources are vitally important for those who intend to train others in Poetry Creative Writing. We suppose we think euphemistically that all creative writers write because they have something to say that is truthful and honest and pointed and important. This thesis is informed by creative voices of L.S. Booysen; C.L.J. Mophethe; N.S. Litabe and P.T.P.K. Maboea. During the interview each one of them was asked questions based on creativity and art as well as questions based on their poetry. Chapter one introduces the study and looks at the key concepts. Chapter two is the literary framework and focuses on the deconstructional approach and multiplicity of meaning in poetry. Chapter three looks at the creativity and art in the poetry of L.S. Booysen; C.L.J. Mophethe; N.S. Litabe and P.T.P.K. Maboea. In chapter four we discuss style in relation to Litabe. Chapter five looks at theme in Maboea’s poetry. In chapter six we focus on intertextuality in relation to Booysen and influence in relation to Mophethe. Chapter seven is a concluding statement that looks back into the first six chapters and also gives suggestions for future research. Our review of this thesis on creative writing has identified a number of factors that seem to foster people to write. But no one can influence people to become creative writers or poets or make them write well. The best one can do is to suggest to them some guidelines for creative writing. (vii) Many people wish to be proficient in poetry creative writing but to achieve this, one should be able to breathe into his work the true poetic spirit that pulses in the composition. This life cannot be created to order because it flows from the mind and soul of the poet and always without his being aware of what is happening, inspires and directs his art. Poetry is also a language that has been condensed, compacted, and trimmed to spark the lightning flash of insight. Poets are more attuned to the connection between language and things, existence and experience. Words have the capacity for poets to change reality, to deepen it, to make it more meaningful. For poets composition is a form of ritual magic. / Prof. R.S. Chaphole

M.A. / Please refer to full text to view abstract

Thesis (M.Com. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2009.

Thesis (M.Com. (Industrial Psychology))--North-West University, Potchefstroom Campus, 2009.

Text in English and some in Sesotho / This thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large. / Linguistics and Modern Languages / D. Phil. (Language, Linguistics and Literature)