Abstract The living circumstances of the elderly are closely related to the social changes in society. The aim of this research is to firstly, identify the impact of social changes on the spatial organization of dwellings and housing from the perspective of the elderly within the framework of social ageing, and secondly to examine the reasons for relocation of the elderly to sheltered housing. Using this data, some recommendations are made about a suitable barrier-free housing model for the elderly based on traditional Finnish rural housing. In addition to the need for barrier-free design criteria in the design process of future dwellings, understanding the social and psychological aspects of the traditional housing of the northern outreach can provide a new perspective for developing and modifying current living environments of the network society. Dwelling architecture already contains a versatile spatial order and a productive identity to constitute different levels of social order and integration. Applied in the network society, the traditional Finnish housing feature known as "tupa" has the capability of exceeding the physical boundaries of home to integrate the service possibilities of the cyberworld. This "tupa" model, both on the dwelling unit level and on the housing level, is not only suitable for the lifestyle of the network society, but also for the elderly who are gradually growing fragile. The "tupa" model functions as a suitable space for the elderly; firstly, as a place to grow old as productive members of the society after retirement and, secondly, as a place to function as active members fostered by the housing community and by the facilities of the network society. "Theme housing" model which is a reinterpretation of the principles of Finnish rural housing, provides a model which can both facilitate social interaction, and the productivity of different generations, while avoiding isolation and social exclusion in the network society.

This mini-dissertatation is aimed at critically analysing the importance of Setswana culture in relation to problems experienced today due to adaptation to Western culture. The mini-dissertation is discussed within the framework of the formalist approach. The proponents of this theory focus on treating literature as a special use of language that achieves its distinctiveness by deviating from distorting practical language. The concept of western culture and its influences on Setswana culture pertaining to love and marriage is strongly emphasised because it is the crux of this research study. Concepts such as acculturation, culture and influence as well as types of poems, also receive attention. Throughout the centuries, in Setswana poetry, love and marriage have been defined, analysed and portrayed in a positive manner. While in Western literature, the positive and the negative sides of love and marriage have been dealt with interchangeably on an ongoing basis. It is in this context that this research attempts to show how authors like Motlhake broke the cultural taboos, and wrote about the pains, miseries,disappointsments and conflict in love and marriage in particular. The investigation critically analyses the impact Western civilization has on the characters portrayed in motlhake’s poems which dwell much on the sorrows, bitterness and eventually divorce that are caused by marriage as portrayed in four of his poems. The content of these poems are analysed in the following chronological order that shows progression of: <ol> <li> Falling in love as portrayed in the poem : Noka ya lerato <li> Rejection asportrayed in the poem: A o a ntlogela <li> Reasons for celibacy: Goreng ke sanyale <li> Aspects of marriage in the poem:Lenyalo</ol> The discussion of the style of the poems deals with the mood and intention of the poet. In this discussion, diction as style markers and stylistic techniques, are examined. It is clear that the poet Motlhake has used quiet a number of techniques, the most frequently used being repetition, elision, opposition, rhythm, figures of speech and imagery. These techniques have been used to highlight the bitterness, the anger as well as the themes of the poems which are: frustration in love and marriage and to go back to cultural practices in Setswana to avoid divorce. / Dissertation (MA(African Languages))--University of Pretoria, 2008. / African Languages / unrestricted

In Sepedi, there is a problem of using irony instead of satire in reference to literary genres. The difference between the two concepts is that irony is a figure of speech and satire is a text type. To bring clarity on this issue, an attempt was made to give a thorough explanation of these concepts. In addition to this, emphasis was on the indication of how irony is employed in writing satire , explanation of structure of genres classified as irony, the correct name for such writings and an indication of how style differentiates those genres. Satire as a literary genre, like moral and didactical narratives has the aim of exposing evil in the society. In the light of this, an attempt was made to differentiate between satire as a literary genre and as a didactical narrative. In an attempt to clarify this, use was made of narratological model which emphasises content, plot and style in genre analysis. Irony as a figure of speech is embedded in the analysis of style in a text. This implies contrast which may be vertical or horizontal, depending on the position of words, sentences or morphemes in a sentence. When used vertically, it gives a meaning different from the reality, thus saying the opposite of what one means. To give a thorough explanation of the concept of satire, it was differentiated from moral stories by using two short stories namely, ‘Nna nka se je dipute…’ from Mantšhaotlogele (1985) by S.N. Nkadimeng and ‘Nka se sa boeletša’ from Medupi ya megokgo (1985) by D.L.M Mpepele. The two short stories were preferred in this study because of remarkable resemblances in respect of their content. They both outline the conflict between the child and a parent and they are similar in setting and milieu. The differences of these concepts as outlined in the summary of this work lies in their style. In his work, Nkadimeng stated the conflict in such a way that it is resolved by introducing a new character, the father in this case, who seemed to be passive all along. He intervenes in the conflict to act as the conscience of the mother, jolting her to her senses on time. Nkadimeng’s style is cool and calm, thus creates a pleasant atmosphere. Mpepele outlined the conflict until the parent acknowledges his wrong behaviour and confesses that he will never do it again. The father thus learned a hard way. Mpepele’s style is sharp, self – biting and spells out venom which effectively intercepts the lesson the father must learn. / Thesis (DLitt)--University of Pretoria, 2012. / African Languages / unrestricted

Cette thèse propose un parcours historique de l’évolution du motif de la bulle, depuis ses prolégomènes antiques et baroques jusqu’à la modernité, et une réflexion sur son expression et ses significations littéraires, plus particulièrement poétiques, à travers l’étude de quelques œuvres représentatives. De la formation de ses fascinants éclats irisés à son éclatement, la bulle permet de s’interroger sur le rapport du sujet à la fragile beauté du monde qui l’entoure. Le motif évolue, cependant, en fonction des périodes et des auteurs, selon la valeur que l’on accorde à cette beauté éphémère, oscillant entre exemplum moralisateur et idéal esthétique, entre la figuration de la Vanité de toute chose et celle d’un éclat fulgurant de présence. L’étude de ce fragile motif conduit à aborder des questions de poétique plus vastes, comme celles du détail et de l’éphémère. La bulle, isolée en tant que détail, amène à reconsidérer, dans le système sémiotique de l’œuvre littéraire, la charge de sens liée aux motifs ténus qui pourraient paraître insignifiants. L’éphémère, quant à lui, avec diverses implications culturelles, demande d’interroger des notions postulant un rapport subjectif de l’individu à sa perception du monde et du temps. Ce motif singulier engage également une thématique spatiale : la bulle, soufflée ou émergeant d’un liquide, prend dans l’espace une forme qui se caractérise par sa sphéricité et qui évoque métaphoriquement la création, divine ou littéraire. À partir de ce recensement des différentes implications culturelles du motif, dans ses constantes et ses évolutions, on étudie l’usage qu’en font quelques auteurs et textes exemplaires : Grégoire de Nysse, Erasme, Crashaw, Le Cardinal de Bernis, Chénier, Vigny, Hugo, Musset, Gautier, Baudelaire, Claudel, Tzara, Reverdy, Ponge, Jaccottet et Bonnefoy. / This thesis offers a historical journey through the evolution of the leitmotiv of the bubble, from the prolegomena of the antiquity and baroque eras to modern literature, as well as a reflection on its expression and its literary meanings, and more particularly in poetry, through the study of a few exemplary poems. From the formation of its fascinating iridescent reflections to its bursting, the leitmotiv of the bubble leads us to ponder the relationship between the subject and the fragile beauty of the world around him. The leitmotiv evolves, however, depending on the value the periods and the authors grant to this ephemeral beauty, oscillating between moralising exemplum and aesthetic ideal, between the representation of the Vanity of all things, and that of a transient flash of being. The study of this fragile leitmotiv brings us to consider more encompassing poetic questions: that of the details and of the ephemeral. The bubble, isolated as a detail, leads us to reconsider, within the semiotic system of a literary piece, the meaning tied to fine leitmotivs that could first appear insignificant. With its diverse cultural implications, the ephemeral makes us question the notions that postulate a subjective relationship between the individual and his perception of the world and of time. This singular leitmotiv also involves a spatial thematic: the bubble, blown or emerging from a liquid, takes upon a characteristic spherical shape, which metaphorically evokes creation, whether divine or literary. From this inventory of the various cultural implications of the leitmotiv, and considering its composing elements and its evolutions, we will study how it is employed through exemplary texts by a few authors such as : Gregory of Nyssa, Desiderius Erasmus, Crashaw, The Cardinal de Bernis, Chénier, Vigny, Hugo, Musset, Gautier, Baudelaire, Claudel, Tzara, Reverdy, Ponge, Bonnefoy and Jaccottet.

This dissertation analyses Lukas Motšheletšhele, the first novel written by M.M. Rammala, who also wrote Rangwane ke go Paletše (1971) and Mabosebosane (s.a.). Lukas Motšheletšhele is a tragic novel. M.O. Dona (1994) and P.S. Groenewald (1995) have already analysed this text, but these scholars did not discuss the content, plot and style of the text. Dona focused on feminism and Groenewald on characterisation and genre. Therefore the main objective of this study is to investigate two levels, content and plot, of Lukas Motšheletšhele. This investigation uses a narratological method, involving the two phases of definition of terms and interpretation of concepts. These processes clarified the problems to be addressed in the study. Literary works are found to have three layers, namely content, plot and style. This dissertation only discusses the first two layers; style is explained but not discussed. Regarding content, topic is an important concept, emphasised in this study, because it creates a coherent link between characters, events, time and place. Regarding plot, the important concept to be highlighted is theme, which links the events of the plot. Theme focuses the message of the text and creates suspense in readers. The theme of Lukas Motšheletšhele is discrimination by a parent in the family. Evangelist Motšheletšhele favours his last son more than his other children. Four other important concepts, namely actions, characters, place and time are also discussed. Characters are grouped into two categories, namely major and minor characters. The major characters are then divided into two groups, kind persons and bad persons. In Lukas Motšheletšhele, the kind-hearted person is the well behaved Onika, and quarrelsome person is Evangelist Motšheletšhele, who opposes Onika’s kindness. These characters are described according to their intention, patronage, resistance, assistance and success. In the novel, factors that assist Evangelist Motšheletšhele resist Onika, and vice versa. Another important aspect of plot is design, which has several facets. For example, some aspects of plot design are important for developing the theme, others show the general behaviour of the antagonist and protagonist, and others identify the genre of the literary work. Lukas Motšheletšhele can be classified as a tragedy. In the denouement, the hero, Evangelist Motšheletšhele, falls from his high position of social status and respect and dies due to his false deeds, which is the classic structure of a tragic plot. The plot is discussed in four stages, namely exposition, development, climax and denouement. How the author displays the characters, events, time and place to reveal his aim is also discussed. The concept of technique is thoroughly explained, and examples given from the novel. Particularly, the 14 techniques used to characterize the protagonist, Evangelist Motšheletšhele, are discussed. These techniques are used to disclose his high status and weaknesses, which relate to his bad behaviour. Onika as antagonist is also discussed in terms of the 12 techniques used to reveal her high status, virtue and lack of weakness. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

This investigation looks on how Setswana short story writers depict female characters in short stories as compared to their male counterparts. Four methods are employed in this study, namely: definition, interpretation, comparison and classification, to cast light on the problems of depiction of female characters. An adapted narratological model was considered most suitable for this study. In this model, when content is discussed, topic is emphasized, when plot structure is analysed, theme is highlighted and when style is examined, atmosphere is of paramount importance. Vital concepts related to the portrayal of female characters are (a) author, (b) text structure, (c) character, (d) womanism and (e) feminism. Discussions of the concept of the author tend to fall into two groups, namely: the real author and the author of the text. This second group, is also subdivided into three classes, which are biolographical, implied and abstract authors. The author as a person is the originator of the events, which are obviously related to the depiction of female characters. A biographical author is connected to real events, which are then used to describe female characters. An abstract author in this study is taken to mean the same as an implied author, because both types of voice disclose the information of the real author in the depiction of female characters. This information is the events through which female characters are portrayed in Setswana short stories. The structure of the text is examined as divided into three strata, namely: content, plot structure and style. Content is discussed as the events which will make up the plot have not been arranged by the author yet, that is are there before the text is written. This content layer has four elements, namely: events, characters, time and space, which are united into one unit by the topic. This topic controls all these elements. Plot structure is then the way in which the author as originator of the events arranges them. In the plot structure the four elements of the content are allocated different functions which revolve around one theme only. Analysis of plot structure is very important because it is where events related to female characters are arranged. Style is defined as a way in which an author uses language to expose his female characters when writing his short stories. The short story is divided in this study into two major types, namely: stories that simply inform and stories that entertain. Description of both types of short stories is given equal attention because the portrayal of female characters in many Setswana short stories is the aim of this examination. Character is the next concept examined in this study. Characters can be any of four types, namely: (a) content characters, (b) plot structure characters, (c) flat characters and (d) round characters. Content and plot structure characters differ in function in the plot. The distinction between flat and round characters lies in the manner in which they are described. These distinctions are important because this research focuses on female characters in the presentation selected Setswana short stories. Female characters can be portrayed by the author himself/herself, the narrator, the character himself/herself and/or by other characters. In these Setswana short stories female characters are usually portrayed as having no rights, which reflect all the mistakes made by people though not admitted by society in general. The portrayal of female characters can be approached using several categories, namely: womanism, experimental phase and feminism. Thus, analysis of selected Setswana short stories unravels how Setswana short story writers depict female characters, whether as womanists, women of the experimental phase or as feminists. Thus, this study divides the selected Setswana short stories into three groups, namely: stories of phase of womanism, stories of experimental phase and stories of phase of feminism, to find out whether depiction of female characters belong to only one of these three themes or to more than one. Stories of phase of womanism The study gives an investigation of womanism: Distinguishing characteristics related to womanism are: -- oppression and ill-treatment of female characters; -- discrimination and segregation of female characters; -- ignorance of female characters; -- the fact that female character should be beaten when they have done something wrong; and -- restriction of the role of female characters to taking care of their own families and the extended family. Setswana short story writers who write about womanism include Chikane ('Mafaratlhatlha a botshelo'and 'Sego sa metsi'), Magoleng and Ntsime ('Khutsana and 'Lerato le eseng lona'), Shole ('Seteropo ke sa gago' and 'Tlogela ngwanake'), Malope ('Le fa o ka e buela lengopeng…' and 'O nkutlwe') and Sikwane ('MmaModiegi'). These short story writers portray female characters living traditional lives even through events which address the issues of feminism. This vividly indicates that although life changes, women`s lives remain static, according to these Setswana short story writers. Stories of phase of feminism Feminism is the next concept explored by this study. The outstanding features which have been discovered in feminism attempts to: -- eradicate oppression of female characters; -- fight for equality amongst women and men in all spheres of life; -- remove segregation of and discrimination against female characters; and -- change the whole society. Setswana short story writers whose work explores the above aspects include Sikwane ('MmaModiegi'), Shole ('Seteropo ke sa gago' and 'Tlogela ngwanake’), Chikane ('Sego sa metsi') and Malope ('Bodiba jo bo jeleng ngwana `a mmaago…' and 'O nkutlwe'). These short story writers emphasize a change in the lives of female characters, describing the fight for equality for all so that each person becomes liberated. Stories of experimental phase Finally, this study examines the experimental phase which shares with both womanism and feminism. Setswana short story writers of the experimental phase intertwine these two approaches when they write their short stories. Features that are identified in both womanism and feminism are: -- the freedom of female characters; -- the liberation of the whole society; -- agreement on marriage and -- working together as a team to solve the problems of society. Malope is shown to be a Setswana short story writer who mixes womanism and feminism. What Malope stresses is that often female characters do not know where they stand, whether they belong to womanism or feminism, and so they end up living a double life. / Thesis (DLitt (African Languages))--University of Pretoria, 2007. / African Languages / unrestricted

This study highlights aspects of performance for the consideration of the pianist wishing to perform Rachmaninoff’s second piano sonata op. 36, using a combination of the two versions (1913 and 1931) published by Boosey&Hawkes. By providing a background to the composition, revision, and structure of this sonata, the study aims to inspect all aspects of the conception and revision of the work. Through a close examination of two recordings of this sonata - by Vladimir Horowitz and Van Cliburn - the study analyses and compares the performers’ choices regarding the selection and combination of material from the two versions for performance. Aspects such as technical difficulty, texture, structure and sonority are highlighted as points for the pianist to contemplate when attempting an alternative version of this work. These elements of successful performance are singled out by the detailed observation of the material selected by the performers, with conjectures as to the most probable reason for its selection. The various analyses and comparisons are illustrated by means of music examples. / Dissertation (MMus (Performing Arts))--University of Pretoria, 2007. / Music / MMus / unrestricted

Ranamane (in Gerard 1993: 177) describes L. D Raditladi as one of the first Setswana writers of importance, a dedicated conservationist and enthusiastic developer of the Setswana language whose works have won considerable acclaim. Raditladi is well known as a prolific dramatist, novelist and poet, and as the translator of Shakespeare’s Macbeth into Setswana. He also wrote for both the Naledi ya Batswana newspaper and Kutlwano magazine (Boikutso 1985: 17). Shole (1988:97) speaks of Raditladi as the first dramatist to write history in Setswana, explaining that Raditladi drew inspiration from the historical dramas of Shakespeare. According to Gerard (1981), Boikhutso (1985) and Ranamane et al. (1986) the quality of Raditladi’s writing was widely recognised during his lifetime. He won numerous prices in for example, the IAI, the May Esther Bedford and the library competitions. In addition he received a monetary grant for the South African Publishing Company became of the exceptional quality of his writing. A representative example of Raditladi’s work is his drama Dintshontsho tsa Lorato, published in (1957). A survey of the literature reveals that his drama has already been investigated, by Ranamane (1986) Shole (1988) and Malimbe (1994). However Malimbe confines her investigation to the plot, and Ranamane and Shole theirs to the plot and style of the drama. Thus, no critic has previously examined the content of Dintshontsho tsa Lorato. The chief aim of this investigation is thus to critically analyse the structure of the drama Dintshontsho tsa Lorato at the level of content and plot, using two research methods, namely definition and interpretation, within the context of the adapted narratological model. This model conceives of a text according to three levels, namely content, plot and style, and focuses on the topic of the content, the theme of the plot and the atmosphere of the style. Thus this research study differs from the three previous investigation of Dintshontsho tsa lorato because it focuses on the content level of the text by examining the topic, and the plot level by analysing the theme. The content of a text is coordinated by the topic to form a unified entity. The topic of the drama we are investigating is reflected in its title, namely Dintshontsho tsa Lorato. The topic is thus of vital importance, and determines the arrangement and presentation of four important elements of content, namely character, time, place and events. These four elements are examined in more detail. The characters of the drama can be grouped into two categories, namely kind-hearted persons (e.g. Mmamotia) and quarrelsome persons (e.g. Sakoma). Mmamotia the antagonist, opposes the hero, Sakoma, who tries to force her to marry him against her will. These two characters are investigated using the concepts of intention, patronage, resistance, assistance and success. Time and place together fall under setting. Setting can be defined as the natural and artificial environment in which characters in literature live and move (Roberts 1982: 1). Time is the period in which the events of the plot happen, and the order in which they happen. This can be expressed in various units, for example a day, month or year. Place denotes the geographical and topological position in which the characters in the story are situated and the events of the plot take place. Bal (1985:8) regards the place within which the characters find themselves as the ‘frame’. The last of the four elements, the events, together make up the plot of the drama, which Strachan (1988: 20) and Magapa (1997) describe as the second level of the text. Here theme is key. Theme is the message the writer actually intends to give to the audience. The theme of the drama Dintshontsho tsa Lorato centres on dishonesty and unfaithfulness. The conflict begins when Sakoma is unable to marry Mmamotia because he is a foreigner in the Bangwato tribe, whose cultural beliefs forbid intermarriage. The plot is examined by focussing on the special functions in the plot of the protagonist Sakoma and the antagonist Mmamotia, and the events related to them are classified as representing either good or evil. The study of Dintshontsho tsa Lorato not only reveals how Raditladi creates his characters but also how he selects and shapes them for the purpose of dramatizing human life with all its varied manifestations. The action that takes place reveal essential character traits of the various characters, and do the words of the characters around them. For instance, Sakoma describes himself as a brave man who will not take no for an answer, and other characters describe Mmamotia as an extraordinarily beautiful woman who is extremely attractive to men. The plot is them examined according to the conflicts that occur in its various stages, namely the exposition, the development, the climax and the denouement. There are eleven distict conflicts that can be identified occurring between characters in he events of the plot. The event of Raditladi using two techniques, namely song and rhetorical questions, presents the events of the exposition, which form the first conflict that sets the plot going. In the development, several other techniques are used to show the conflicting forces of character and events and to emphasize message of the drama. The second, fourth and eleventh conflicts are discussed in detail because they involve the protagonist and the intagonist. (The other conflicts, which are between other characters, can be described as weak, and are not examined in great detail, though they are vital for creating suspense). In the climax phase the technique of dialog is examined, particularly in the conflict between the protagonist and the helper. The denouement phase has no conflict. Here Raditladi uses one important technique, namely monologue, to streangthen the presentation of the theme of Dintshontsho tsa Lorato. Overall, the most frequently used techniques are dialogue, monologue, point of view, repetition, foereshadowing, rhetorical questions and are the inactive mood. This drama can be classified as a tragedy, because its ending is sad, since the three main characters die. Using this tragic ending Raditladi tries to caution his audience against dishonesty and unfaithfulness. Thus it is the theme that holds the audience to the end of the drama. / Dissertation (MA (Setswana))--University of Pretoria, 2007. / African Languages / MA / unrestricted

Maditsi is one of the most significant authors in Sepedi literature. He has written various texts, including poetry, short stories and a novelette. He won the first award of the Samuel E Mqhayi prize awarded by the Suid -Afrikaanse Akademie vir Wetenskap en Kuns in 1971, with his poetry book Monamolomo bolela monatsebe o tlo go kwa. His exceptional writing proficiency have been recognised by a scholar such as Thobakgale (1996: 6), who writes: (Maditsi) could be called the leading author of the development of Sepedi short stories, because his short stories, namely Mogologolo (1970), Monyane (1974) and Dipheko (1985) are of high standard as compared to the initial ones as they have raised the standard of Sepedi short stories. The aim of this dissertation is to analyse Maditsi’ s short story ‘Pheko ya pula’ from the anthology Dipheko, as a traditional short story, with special reference to two levels, namely content and plot. When analysing ‘Pheko ya pula’, two strategies have been chosen, namely ‘to define’and ‘to intepret’. The reason is because in this research there are terms such as journey, patronage, etc, that require definition, as well as ideas (characters, events, design, title, theme, topic, technique, conflict and others) that require interpretation and are related to the topic. Furthermore, the model used in this investigation was the adapted narratological model developed by Groenewald (1993) and Mojalefa (1997). This model differ from older models developed by narratologists such as Genette (1980) and Strachan (1988), because it emphasizes that when one discusses content, topic is important. When plot structure is examined, theme is highlighted, and when style is investigated, atmosphere plays a very important role. With regard to the content level, it was revealed that content consists of four elements, namely characters, events, time and place. Furthermore, it was also discovered that characters are subdivided into two categories, namely main and minor characters. These major characters are kind- hearted person and quarrelsome person and they are described according to the following index: intention, patronage, resistance, assistance and patronised. In the short story ‘Pheko ya pula’, the kind-hearted person is Potego, while the quarrelsome person is Mathoma, because he opposes Potego’s kindness. If this text is read and studied intensively the reader realises that the assistance of the quarrelsome person, Mathoma is the resistance of the kind-hearted person, Potego, and vice versa. Events can be classified into two categories, namely essential and other events. The essential events are further subdivided into three categories, namely first, middle and last events. The concept of time at the content level is explained in terms of three categories, namely narratological time, historical time and indefinite time. Place is divided into two categories: the physical place where events occur and indefinite place. In analysing plot structure, three elements are important, namely theme, design and title, because theme links the events of the plot of ‘Pheko ya pula’. Title plays a significant role in distinguishing the name of the literary text and design identifies the type of literary work. Four phases of plot, namely exposition, development, climax and denouement, have also been examined as pillars of the literary text. In the exposition phase, the first conflict (local witchdoctors refused to find the rain charm for the Puding community) is discussed in terms of the following techniques: contrast, foreshadowing, naming, focus, repetition and others. Sequence of events, flashback, symbol and other techniques were used in the development. In the climax, the author used cycle, repetition and other techniques, while in the denouement he used flashback and foreshadowing. In conclusion, this research has also examined the way Maditsi has used the journey as a technique in Sepedi literature, because ‘Pheko ya pula’ is based on a journey from the beginning to the end. The author has used this important technique with consummate skill. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

In this dissertation Lebopa' s two short stories entitled Ntlo ya monna yo mongwe and Bomahlwabadibona are compared with each other. Groenewald is the first person to have pointed out the importance of these two detective short stories. By doing this he also pointed out the importance of Lebopa as a Sepedi author. The named two short stories have never been examined comprehensively. It was therefore decided that they would be compared to each other in this study. The study begins with a description of the concept 'detective story'. Stewart (1980: 12) states that this type of story deals with an investigator who tries to unravel a mystery. The Boileau - Narcejac and Groenewald classifications of these types of stories also receive attention. The Groenewald classification is used in this dissertation. Strachan and Mojalefa's opinion that a literary work consists of three levels forms the basis of the model used to analyse the short stories. Mojalefa refers to these three levels as 'content level', 'structure level' and 'style level'. 'Topic' and 'theme' are two basic concepts in this investigation. 'Topic' is relevant on a content level while 'theme' is important on a structure level'. The two stories were not analysed stylistically. The content of a text consists of four elements, namely characters, events, time and space, and the study of content concentrates on these four elements. Two main figures who are involved in a conflict with each other are identified in the investigation. The events are divided into three categories. The first category contains basic events and is exclusively determined by the topic. The second and third categories respectively contain relevant and coincidental events. The 'time' concept is subdivided into 'point of time' and 'lapse of time'. 'Place' includes amongst other things, 'geographic', 'socio-cultural' and 'symbolic place'. The analysis of the structural level relies heavily on the 'mini-framework' concept which involves the microstructure of a work. Attention is devoted to the title. Hereafter the investigation focused on the different parts of the structure i.e. the exposition, the development, the climax and the resolution. The structural analysis concentrates mainly on the author's use of literary techniques. The concept 'technique' is defined and the following techniques from Ntlo ya monna yo mongwe and Bomahlwabadibona are identified and discussed: repetition, shifting, frequency, dramatic irony, omission, focus, complication and deceit. The investigation is a functional analysis and not a taxonomic one, which means that the ways in which the techniques function also receive attention. The comparison between the two short stories reveals that they belong to two different kinds of detective stories. In Ntlo ya monna yo mongwe the unravelling of the mystery receive the most attention. In Bomahlwabadibona those events which gradually expose the cruelty of the antagonist and which deal with his punishment are most prominent. This is in accordance with Dresden and Vestdijk's description of the English and American detective story respectively. The positions of Ntlo ya monna yo mongwe and Bomahlwabadibona in relation to the rest of the Sepedi narrative genre is then precisely indicated. The concluding chapter is a summary. At the end of this chapter a brief allusion is made to Dresden and Vestdijk's opinion that the detective story is a modern fairytale. / Dissertation (MA)--University of Pretoria, 2013. / African Languages / unrestricted