Thesis (M.A. (African Languages))--University of Pretoria, 2002. / Text in Afrikaans and isiZulu. Includes bibliographical references.

Please read the abstract in the section 04back of this document / Dissertation (MA (Setswana))--University of Pretoria, 2007. / African Languages / unrestricted

AFRIKAANS: Hierdie verhandeling val in drie dele uiteen. In deel een is die historiese agtergrond te wete die ontstaan van die radiodrama in isiZulu nagevors. Die ontwikkeling sedert die beginjare van radio tot en met 2002 is gedokumenteer. Ntuli se bydrae tot die radiodrama in isiZulu word beskou. Die teater- versus die radiodrama word vergelyk, die ontstaan van die isiZulu radiodiens, die isiZulu radiodrama and statitiek met betrekking tot die genre isiZulu radiodrama word gegee. D.B.Z. Ntuli se bydrae tot die genre word bespreek en ‘n motivering vir die gekose radiodrama word aangebied. Die tweede deel bevat 'n bespreking van die didaskalies in die gekose radiodrama Isithembu van D.B.Z. Ntuli. Die funksionaliteit en toepaslikheid daarvan word bespreek. Deel drie is 'n bespreking van die gekose radiodrama volgens 'n narratologiese model. Daar word kortliks na ander narratologiese modelle verwys. Die model wat gebruik is, is die model wat deur die Departement Afrikatale aan die Universiteit van Pretoria ontwikkel is. 'n Teoretiese bespreking van die model word gegee. Vlak een en twee word op die gekose radiodrama toegepas. ENGLISH: This dissertation falls into three parts. The historical background of isiZulu radio drama, namely its origins, is researched in part one. The development of isiZulu radio drama from the early years of radio up to and including 2002 is documented. Theatre drama is compared to radio drama, and the origins of the isiZulu radio service, the isiZulu radio drama and statistics with respect to the genre isiZulu radio drama are discussed. D.B.Z. Ntuli's contribution to the genre is discussed and reasons are offered for the radio drama chosen. The second part contains a discussion of the didascalies in the chosen radio drama, Isithembu, by D.B.Z. Ntuli. Their functionality and appropriateness is discussed. In part three the chosen radio drama is discussed according to a particular narratological model. Various other narratological models are referred to briefly The model used is one that has been developed by the Department of African Languages at the University of Pretoria. The theory behind the model is discussed. Levels one and two of the model are applied to the cho¬sen radio drama. / Dissertation (MA (Isizulu))--University of Pretoria, 2006. / African Languages / unrestricted

Thesis (M.A. (African Languages)) -- University of the North, 1997 / Refer to the document

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, 2006.

No abstract available. / Thesis (M.A)-University of Durban-Westville, 2004.

This dissertation focuses on the nature and manifestation of tragedy within African experience in selected plays written by black South African playwrights. The plays under discussion are We Shall Sing for the Fatherland (1973) by Zakes Mda, The Hungry Earth (1978) by Maishe Maponya, and Sarafina (1985) by Mbongeni Ngema. The many conflicting statements regarding the "death" and existence of tragedy in contemporary drama lead one to ask the following two fundamental questions: Can there be tragedy in contemporary South African drama and what structural devices are there to account for the manifestation of this elusive phenomenon? This dissertation works towards defining the concept of an African vision of tragedy by examining the nature and form in which tragedy manifests itself in South African drama. Secondly, it considers the extent to which this phenomenon is similar or different from conventional elements and structural forms of Western tragic drama. This dissertation argues that there exists a distinct and viable vision of tragedy in black South African drama which can be called African. It contends that dramatic texts do not all have the same degree of profundity of tragic vision because their subject matter, techniques and depth of artistic exploration differ, and vary according to their cultural roots. The basis on which old forms of tragedy are used to interpret the version of contemporary tragedy is therefore called into question, and as a result, the analysis of structural forms and thematic preoccupations of contemporary tragedy needs a set of criteria different from that of Euro-American drama. The portrayal of a tragic hero as a common man whose tragic stature is measured in terms of his ability to feel, to be aware of forces closing down on him in The Hungry Earth, the manifestation of tragedy as generated not only by individual volition, but by an economic structure established by those in power in We Shall Sing for the Fatherland, and, finally, the mingling of tragicomic elements of entertainment and communication to accommodate both tragedy and comic elements without destroying the integrity of either in Sarafina, indicate a definite development and imitation of tragedy from emphasis on form to meaning. By asking a question like: "What constitutes tragedy in black South African drama, and how are such processes represented and modelled in the selected plays?" this dissertation enters into a dialogue of global and local perspectives of tragedy in order to contribute to our understanding of an African, and specifically South African, concept of tragedy firmly rooted in its socio-cultural context. / Thesis (M.A. (English))--Potchefstroom University for Christian Higher Education, 2003.

This dissertation focuses on the nature and manifestation of tragedy within African experience in selected plays written by black South African playwrights. The plays under discussion are We Shall Sing for the Fatherland (1973) by Zakes Mda, The Hungry Earth (1978) by Maishe Maponya, and Sarafina (1985) by Mbongeni Ngema. The many conflicting statements regarding the "death" and existence of tragedy in contemporary drama lead one to ask the following two fundamental questions: Can there be tragedy in contemporary South African drama and what structural devices are there to account for the manifestation of this elusive phenomenon? This dissertation works towards defining the concept of an African vision of tragedy by examining the nature and form in which tragedy manifests itself in South African drama. Secondly, it considers the extent to which this phenomenon is similar or different from conventional elements and structural forms of Western tragic drama. This dissertation argues that there exists a distinct and viable vision of tragedy in black South African drama which can be called African. It contends that dramatic texts do not all have the same degree of profundity of tragic vision because their subject matter, techniques and depth of artistic exploration differ, and vary according to their cultural roots. The basis on which old forms of tragedy are used to interpret the version of contemporary tragedy is therefore called into question, and as a result, the analysis of structural forms and thematic preoccupations of contemporary tragedy needs a set of criteria different from that of Euro-American drama. The portrayal of a tragic hero as a common man whose tragic stature is measured in terms of his ability to feel, to be aware of forces closing down on him in The Hungry Earth, the manifestation of tragedy as generated not only by individual volition, but by an economic structure established by those in power in We Shall Sing for the Fatherland, and, finally, the mingling of tragicomic elements of entertainment and communication to accommodate both tragedy and comic elements without destroying the integrity of either in Sarafina, indicate a definite development and imitation of tragedy from emphasis on form to meaning. By asking a question like: "What constitutes tragedy in black South African drama, and how are such processes represented and modelled in the selected plays?" this dissertation enters into a dialogue of global and local perspectives of tragedy in order to contribute to our understanding of an African, and specifically South African, concept of tragedy firmly rooted in its socio-cultural context. / Thesis (M.A. (English))--Potchefstroom University for Christian Higher Education, 2003.

M. Tech. Drama / Obscenity in the realm of theatre is certainly not new. More recently, an explosion of provocative plays by young British writers, confront the taboo of obscenity, eminently reflected in Sarah Kane's Phaedra's Love. These plays have been aptly dubbed "In Your Face theatre". Grootboom's productions share similarities with these global trends as they are reflexive of this definition in portraying this type of theatre. With the rich history of obscenity in theatre, it should come as no surprise that in reflecting more open current trends, obscenity is perceived as increasingly more tolerable in South African theatre. Grootboom's plays have managed to edge closer to controversy visible in the local furore. The reactions to Grootboom's productions have to do with the fact that full frontal nudity is unacceptable in African culture (except of course during traditional ceremonies and protests). This study seeks to discover why Grootboom's obscene theatre is so popular amongst black South Africans though at odds with their cultural perceptions of respect, relationship boundaries, communal address and personal demeanour rather than exhibitionism. It also seeks to contribute to a clearer understanding of what theatrical content current South African audience prefers.

Of all human identity categories such as race, religion, culture, class and gender that a person might belong to, race and gender are arguably two of the most contentious in the world. This study takes gender as its main focus, exploring how gender, gender oppression, patriarchy and resistance are negotiated in selected dramatic literary works emanating from Africa’s two literary giants, Nigeria and South Africa. It thus aims to bring two distinct literary traditions into dialogue with one another in order to clarify our understanding of how gender is articulated and inscribed across different contexts. Selected works from Nigeria include Aetu (2006), Little Drops (2011), Abobaku (2015) all by a single playwright, Ahmed Yerima, who has been described as one of the most outspoken feminist playwrights in the country. Other plays from South African context include So What’s New? (1993) by Fatima Dike, Weemen (1996) by Mthali Thulani, Flight from the Mahabarath (1998) by Muthal Naidoo and At Her Feet by Nadia Davids (2006). Of particular interest in this study is the question of how these plays explore the specific forms of gender discrimination which arise in the context of religious, traditional and cultural practices such as domestic violence against women, child marriage, wife inheritance, polygamy and property-sharing after the death of a husband or father. These texts, all written from a feminist perspective, foreground different understandings of what a woman and a mother is in the African context. They also offer differing articulations of gender-based resistance. The study employs an eclectic blend of western and African feminist/womanist frameworks in order to decipher how these plays comment, and reflect, on the issue of gender inequality. In so doing, the aim is to bring these distinct theoretical and ideological traditions into dialogue with one another. A further aim is to assess to what extent these plays draw on, or are aligned with, various strands of western and African feminist theorizing whilst also offering an understanding of literary texts as sites of theory-making in their own right. The study further explores the echoes, conjunctions, entanglements and disparities that are revealed by bringing these texts from different contexts into dialogue with one another. In this process, the chapter also explores the extent to which these plays can be aligned with the often polarized discourses of western and African feminist theories, thus contributing to a broader understanding of gender, gendered societies and gender-based oppression in African contexts. Finally, this study seeks to arrive at a new theoretical feminist framework for reading these texts: what I have called ‘Consequentialist feminism’ is an approach which seeks to transcend the binaries between western and African feminist theorizing by focusing on the consequences of women’s choices in particular contexts of engagement and response. / Thesis (DLitt (English))--University of Pretoria, 2019. / English / DLitt (English) / Unrestricted