The aim of this research is to investigate the nature and development of the detective narrative in Northern Sotho from its beginnings in the 1960s up to its present level in the 1990s. . Due to the peculiarities of each text under study, different literary approaches, viz. Marxism, Feminism and lntertextuality have been utilized in an attempt at getting the best out of each text. The basic requirements of a detective narrative as legislated by the Detective Club in Britain and Ronald Knox have been used as a scale on which to weigh this product in Northern Sotho. The study investigates also how the detective narrative in Northern Sotho reflects the social history of the society out of which it originates. The differences in the texts of the 1970s with those of the 1990s is highlighted and the accurate way in which they are mirrors of the socio-political developments is revealed. The study finally reveals the achievements and failures of writers of this genre in Northern Sotho. Different areas which need research by future scholars are suggested. By way of conclusion the most important observation made is the need of being guided by a text under discussion whenever a literary approach is to be chosen. Also, more of vmodern literary approaches need to be experimented on in relation with African literature written in indigenous African languages so as to assist in finally deciding upon the need of a home-brewed approach. / African Languages / D.Litt. et Phil. (African Languages)

The main objective of this study is to explore the literariness in JRL Rafapa's novels published between 1979-1991. This study was prompted by views of literary scholars who claim that post-0.K. Matsepe writers such as Rafapa were all influenced by Matsepe's writings to such an extent that they actually emulate his themes, settings, characters, plots and so on. This kind of emulation is said to have put the Northern Sotho Novel in a cul-de-sac. The modus operandi in this study is as follows: Chapter one deals with the aim of study, critical comments on the post-Matsepe writers, biographical sketch on Rafapa, literary approaches and method as well as the scope. The second chapter concentrates on the relationship between the writer and characters as his creations. It also deals with conventional character stereotypes such as the hero, the opponent and the supporter. Narrative strategies such as self-display or exteriorization, the narrative voice and the creation of an autobiographical narrative are also looked into. Chapter three explores Rafapa's themes. The main themes discussed are: social decay, madness and vengeance, as well as protest and conflict. We conclude the chapter by examining Rafapa's titles. Chapter four focuses closely on "place" and "time" in Rafapa's novels. The two mentioned aspects of setting are discussed separately according to: place as a space of action and place as acting space. convoluted time and chronological time. The chapter ends with a brief discussion of the functions of setting. Rafapa's idiolect is dealt with in chapter five. Here, we consider the word as the writer's main tool of communication. The use of words in different types of sentences as well as in various types of paragraphs come into focus. Chapter six looks into Rafapa's use of non-prose forms such as the interior monologue, the dialogue and the praise poems as the writer's means of extending meaning. Chapter seven is the recapitulation of the main findings in the thesis. It also touches on aspects which may form bases for future research. It is followed by a bibliography and an Appendix. / African Languages / D.Litt. et Phil. (African Languages)

Thesis (Ph.D.(Literature)) -- University of the North, 1973 / Refer to the document

The main objective of this study is to explore the literariness in JRL Rafapa's novels published between 1979-1991. This study was prompted by views of literary scholars who claim that post-0.K. Matsepe writers such as Rafapa were all influenced by Matsepe's writings to such an extent that they actually emulate his themes, settings, characters, plots and so on. This kind of emulation is said to have put the Northern Sotho Novel in a cul-de-sac. The modus operandi in this study is as follows: Chapter one deals with the aim of study, critical comments on the post-Matsepe writers, biographical sketch on Rafapa, literary approaches and method as well as the scope. The second chapter concentrates on the relationship between the writer and characters as his creations. It also deals with conventional character stereotypes such as the hero, the opponent and the supporter. Narrative strategies such as self-display or exteriorization, the narrative voice and the creation of an autobiographical narrative are also looked into. Chapter three explores Rafapa's themes. The main themes discussed are: social decay, madness and vengeance, as well as protest and conflict. We conclude the chapter by examining Rafapa's titles. Chapter four focuses closely on "place" and "time" in Rafapa's novels. The two mentioned aspects of setting are discussed separately according to: place as a space of action and place as acting space. convoluted time and chronological time. The chapter ends with a brief discussion of the functions of setting. Rafapa's idiolect is dealt with in chapter five. Here, we consider the word as the writer's main tool of communication. The use of words in different types of sentences as well as in various types of paragraphs come into focus. Chapter six looks into Rafapa's use of non-prose forms such as the interior monologue, the dialogue and the praise poems as the writer's means of extending meaning. Chapter seven is the recapitulation of the main findings in the thesis. It also touches on aspects which may form bases for future research. It is followed by a bibliography and an Appendix. / African Languages / D.Litt. et Phil. (African Languages)

The aim of this research is to investigate the nature and development of the detective narrative in Northern Sotho from its beginnings in the 1960s up to its present level in the 1990s. . Due to the peculiarities of each text under study, different literary approaches, viz. Marxism, Feminism and lntertextuality have been utilized in an attempt at getting the best out of each text. The basic requirements of a detective narrative as legislated by the Detective Club in Britain and Ronald Knox have been used as a scale on which to weigh this product in Northern Sotho. The study investigates also how the detective narrative in Northern Sotho reflects the social history of the society out of which it originates. The differences in the texts of the 1970s with those of the 1990s is highlighted and the accurate way in which they are mirrors of the socio-political developments is revealed. The study finally reveals the achievements and failures of writers of this genre in Northern Sotho. Different areas which need research by future scholars are suggested. By way of conclusion the most important observation made is the need of being guided by a text under discussion whenever a literary approach is to be chosen. Also, more of vmodern literary approaches need to be experimented on in relation with African literature written in indigenous African languages so as to assist in finally deciding upon the need of a home-brewed approach. / African Languages / D.Litt. et Phil. (African Languages)

Thesis (PhD)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: This study examines space and characterization in Sesotho novels focussing on three main categories such as the space of travelling characters; the space of migrating characters; and the space as an abstraction. CHAPTER 1 introduces the aims of study as well as the theoretical framework which forms the basis on which the study is analysed. The notions of space and character are discussed within the theoretical framework of structuralism, and the focus is placed on narratology. CHAPTER 2 studies the travelling characters, focus is on Mofolo's novels, Moeti wa botjhabe/a and Pitseng which depict two types of space where one space is presented as traditional, and the other as a westernized space. The traditional and westernized spaces are symbolized by means of bad and good characters respectively. The good characters are depicted as angels, and the bad characters as monsters. CHAPTER 3 examines the space of migrating characters that leave their rural spaces for the urban spaces. Their characters are shown by means of changes that they experience at different spaces. In most of the novels examined, characters are motivated by certain desires to act in a particular way, and the change in them is the result of a crucial situation in life, hence we say characterization and space in those novels are reconciled in an appropriate way. CHAPTER 4 deals with the space as an abstraction which shows how the characters' personalities are affected by the political, psychological and socio-economic factors. Characterization in these novels is good except in Makappa's novel, Thatohatsi. In CHAPTER 5 we look as to whether the novels are good or bad in terms of literary appreciation and conclusion is drawn to the effect that it is not heredity that makes up a character, but the social environment. This is achieved through the literary aspects such as the way conflict is handled, types of characters and the portrayal of the space in which the characters live. / AFRIKAANSE OPSOMMING: Die navorsing wat hierdie proefskrif gedoen is het die soeklig op ruimte en karakterisering in Sesotho novelles laat val. Klem is op drie hoof-kateqorie gele. uimte wat deur rondreisende karakters ingeneem word, die ruimte wat deur nomadiese of rondtrekkende karakters beslaan word, en ruimte as n bepaalde begrip. Hoofstuk 1 stel die leser voor aan die doelwitte van die navorsing, sowel as die teoretiese raamwerk wat die grondslag waarop die studie berus, vorm. Die begrippe 'ruimte' en 'karakter' word binne die teoretiese raamwerk van die strukturalisme bespreek en die fokus word in hierdie geval op die vertelkunde geplaas. Hoofstuk 2 Ie klem op rondreisende karakters en ondersoek Mofolo se novelles Moeti wa botjhabela en Pits eng waarin twee soorte ruimtes uitgebeeld word; naamlik, tradisionele ruimte en verwesterse ruimte. Tradisionele en verwesterse ruimtes word onderskeilik deur slegte en goeie karakters versinnebeeld. Die goeie karakters word as engele uitgebeeld, terwyl die slegte karakters as monsters voorgestel word. In Hoofstuk 3 word die ruimte van die nomadiese karakters wat hulle plattelandse ruimte vir 'n stedelike ruimte verruil, ondersoek. Hierdie karakters word deur middel van veranderinge wat in verskillende ruimtes plaasvind, voorgestel. In die meeste novelles wat ondersoek is, het die karakters op n sekere manier opgetree omdat hulle deur bepaalde begeertes daartoe gedryf is. Die verandering in die lewens van hierdie karakters as gevolg hiervan, kan dan beskou word as die direkte gevolg van sekere deurslaggewende gebeurtenisse. Karakteriseering en ruimte word dus in hierdie novelles op n geskikte wyse met mekaar verbind. Hoofstuk 4 neem die begrip 'ruimte' onder die loep om sodoende aan te dui hoe die karakters se persoonlikhede deur politieke, sielkundige en sosio-ekonomiese faktore beinvloed word. Karakterisering in hierdie novelles is geslaagd, behalwe in Makappa se novelle Thatohatsi. In Hoofstuk 5, word aandag geskenk aan die beoordeling van die novelles in terme van die hulle literere waarde en daar word tot die gevolgtrekking gekom dat dit nie oorerflike eienskappe is wat gestalte aan 'n bepaalde karakter gee nie, maar veel eercer sy omgewing. Oit word veral duidelik as gelet word op bepaalde literere aspekete soos die manier waarop konflik uitgebeeld word, asook die beskrywing van die ruimte waarin die karakters hulle bevind.

M.A. (African Languages) / During the past few decades the short story as a literary genre has attracted much attention. Languages such as Russian, English, French, German and later Afrikaans have produced outstanding writers in this genre, whereas writers in relatively younger languages such as Northern-Sotho are- still grappling with complexities such as form and structure in this art-form. Up to the present, the North-Sotho writer I.T. Maditsi has produced three short story collections, namely Mogologolo, Monyane and Dipheko. A number of selected short stories were selected from the three anthologies for a literary analysis, with special emphasis on characterization, which is one of the most important elements of. a successful short story. Few similar attempts have been made so far in Northern-Sotho. Therefore this study will hopefully make a valuable contribution to a better understanding of the short story in general and the Northern-Sotho short story in particular.

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.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study examines the aspect of culture and gender in N.S. Zulu's novel Nonyana ya tshepo (The bird of hope) (1997). The approach shall be based on the study of culture and gender representation of male and female characters as viewed by scholars such as Payne (1997), Ruthven (1984), Bauerlin (1997) and Brooker (1999). However, because character is closely linked to plot, the study also outlines plot and character. The study emphasizes the portrayal of male and female characters in terms of culture and gender stereotypes because patriarchy in society dictates that men are seen as superior and women as inferior, women as the dispossessed and men as owners, women as child bearers and men as leaders. The study aims to find out whether or not this modern novel, Nonyana ya tshepo, portrays patriarchal images of men and women. In most of thE! Sesotho older novels sexism was enforced, and sexual inequalities in such novels were taken as universal and therefore normal. The issue of sexual difference and inequality is basically rooted in the tradition of patriarchy that advocates the subjection and oppression of women. Women characters are always subjected to ill-treatment, abuse, torture and suppression as a result of patriarchy and other related factors. In Nonyana ya tshepo women characters are portrayed as being submissive, powerless and easily manipulated by their male counterparts. They are victims of circumstances as they have no power and control. Male characters do not treat female characters with dignity. For example, when Mokwena arrives at his home in the night being drunk, he wakes up his wife Dijeng and swears at her. He accuses her of hiding a man in his bedroom and he finally beats her up. Women characters in Nonyana ya tshepo are also portrayed as victims of sexual abuse by male characters. Mokwena sexually abuses Dikeledi and impregnates her. The same abuse happens to Sebolelo who is sexually abused by her male employee. Sebolelo and Dikeledi become victims of the circumstances. Male characters in the novel are dominant, abusive, manipulative and oppressive. Male and female characters are portrayed in terms of culture and gender stereotypes in Nonyana ya tshepo. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die aspek van kultuur en gender in N.S. Zulu se novelle Nonyana ya tshepo (die voël van hoop) (1997). Die benadering tot die studie is gebaseer op die studie van kultuur en gender representasie van manlike en vroulike karakters soos gesien deur navorsers soos Payne (1997), Ruthven (1984), Bauer1in (1997) en Brooker (1999). Omdat karakterisering egter gekoppel is aan intrige, ondersoek die studie ook intrige en karakter. Die studie beklemtoon die uitbeelding van manlike en vroulike karakters in terme van kultuur en gender stereotipes aangesien patriargie in die gemeenskap voorskryf dat mans as meerderes en vroue as minderes is, vroue as die nie-besitters en mans as besitters, vroue as voortbringers van kinders en mans as leiers. Die studie ondersoek of, in die novelle, Nonyana ya tshepo daar 'n uitbeelding is van patriargale voorstellings van mans en vroue. In die meeste ouer Sesotho novelles, is stereotipes geforseer, en gender ongelykhede is beskou as universeel in hierdie novelles, en dus normaal. Die vraagstuk van gender verskille en ongelykheid is gewortel in die tradisie van patriargie wat die onderwerping en verdrukking van vroue voorstaan. Vroue karakters word altyd onderwerp aan mishandeling en verdrukking as gevolg van patriargie en ander verwante faktore. In Nonyana ya tshepo word vroue karakters uitgebeeld as onderdanig, magteloos, en maklik-manipuleerbaar deur hulle manlike eweknieë. Hulle is slagoffers van omstandighede en het nie mag of kontrole nie. Manlike karakters behandel nie vroulike karakters met respek nie. Byvoorbeeld wanneer Mokwena besope opdaag by die huis mishandel hy sy vrou. Vroulike karakters in Nongana ya tshepo word ook uitgebeeld as slagoffers van seksuele teistering deur manlike karakters. Mokwena word byvoorbeeld seksueel geteister deur Dekeledi. Soortgelyke teistering word ondervind deur Sebolelo wat deur haar manlike werkgewer geteister word. Manlike karakters word as dominerend en manipulerend uitgebeeld. Sowel manlike as vroulike karakters word l.t.v, kulturele en gender stereotipes uitgebeeld in Nonyana ya tshepo.

M.A. / This study deals with the portrayal of female characters in three novels of K.E. Ntsane. The novels are Masoabi ngwana Mosotho wa kajeno, Nna Sajene Kokobela, C.I.D. and Bao batho. CHAPTER ONE This chapter deals with the aim and scope of the study, approach, the biography of K.E. Ntsane and his contribution to Sesotho literature, a short summary of the three novels, the cultural image of a Mosotho woman and the conclusion. CHAPTER TWO This chapter consists of the origin of feminism and its effect on women. The definition and method of characterization are discussed in relation to the female characters in selected works. The woman in a Sesotho culture is examined in some detail. CHAPTER THREE In chapter 3, the portrayal of female characters in the novels is discussed. Their behaviour as well as the author's attitude is examined. CHAPTER FOUR Chapter 4 deals with Ntsane's style in the three novels. CHAPTER FIVE This chapter is a general conclusion to this study.