Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: When we consider the total number of complaints, which have been used in the selected Tshivenda dramas, we find that the drama ZWO ITWA has the most complaints. i.e. 24.8% of complaints in the six books. The drama VHD LU FUKULA also has a high number of complaints i.e. 20.8% of all the complaints. In the analysis of complaints in selected Tshivenda dramas, eight strategies were considered. It frequently happened that more than one strategy was used in individual complaints. On average, 2.1 to 1.7 strategies appear in a complaint with an average of 1.9 strategies per complaint. With regard to the analysis of individual strategies in all books, we find that indirect accusation has the highest frequency i.e. 35.7%. This refers to an accusation in which the complainer wants to find out whether the hearer may be the potential agent of the complaint. Thus, the complainer does not directly accuse the hearer of the complaint. The study also reveals that characters like using strategies which are less direct and less face threatening. The strategies which appeared most frequently in of each book are annoyance, indirect accusation, ill consequences and explicit blame on behaviour (action). When we consider the total number of responses, which have been used in all the dramas, the study shows that ZWO ITWA has the most responses i.e. 22.6% of all the responses to the complaints in the six books. The drama VHD LU FUKULA also has a high frequency of responses i.e. 20.5% of all responses. Out of the six types of responses that were identified, question has the highest frequency of 37.3%. It also became clear in this study that some of the questions were used to object. The response, which also has high frequency, is contradiction. This response has a percentage of 21.2% of the total responses. / AFRIKAANSE OPSOMMING: Wanneer die totale getal klagtes in die geselekteerde Tshivenda dramas oorweeg word, vind ons dat 2WO ITWA die meeste klagtes het, naamlik 24.8% van die klagtes in die ses boeke. Die drama VHO LU FUKULA het ook 'n groot aantal klagtes, naamlik 20.8% van al die klagtes. In die analise van klagtes in die geselekteerde Tshivenda dramas is agt strategieë oorweeg. Dit gebeur dikwels dat meer as een strategie gebruik is in individuele klagtes. Vanaf 2.1 tot 1.7 strategieë verskyn in 'n klagte met 'n gemiddelde van 1.9 strategieë per klagte. Ten opsigte van die analise van individuele strategieë in al die boeke is gevind dat indirekte beskuldiging die hoogste frekwensie het, naamlik 35.7%. Dit verwys na 'n beskuldiging waarin die klaer wil uitvind of die hoorder die potensiële agent van die klagte is. Dus, die klaer beskuldig nie die hoorder direk oor die klagte nie. Die studie toon ook dat karakters daarvan hou om strategieë te gebruik wat minder direk is en nie 'n persoon se selfbeeld aantas nie. Die strategieë met die hoogste frekwensie in elke boek is ergernis, indirekte beskuldiging, nadelige gevolge en eksplisiete blaam op die gedrag (handeling). Ten opsigte van die totale getal response die klagtes in die betrokke dramas, het die studie getoon dat ZWO ITWA die meeste response het, naamlik 22.6% van al die response op klagtes in die ses boeke. Die drama VHO LU FUKULA het ook 'n hoë frekwensie reaksies, naamlik 20.5%. Van die 6 tipes reaksies het die vraag die hoogste frekwensie, naamlik 37.3%. Dit is ook duidelik dat sommige vrae gaan oor objeksies. 'n Respons wat ook 'n hoë frekwensie het, is teenstelling naamlik 21.2% van alle response.

Thesis (M.A. (African languages)) --University of Limpopo, 2012 / This is a comparative study of Tragedy and Comedy, with special reference to the works of Mathivha, Mahamba, Milubi and Madima. Chapter One is an introduction of this study. The aim, scope and methodology are discussed herein. Concepts such as characters, plot and conflict are defined in this chapter. The chapter also includes a summary of Mabalanganye, Zwo Itwa, Khoro dzi sa dzhenelani and Hu na Savhadina respectively. Chapter Two focuses on what is considered as tragic in Western culture as well as in Tshivenda culture. The elements which the researcher believes are necessary for this study are: stature of the hero, catharsis, hubris, harmatia, ignitio, nemesis, victims, confidant, bravery, death, witchcraft and feminism. Chapter Three gives an exposition of the requirements and criteria for drama such as plot, characterization, and conflict. A comparison between the works of Mathivha and Mahamba has also been made. Chapter Four focuses on the elements of comedy. The elements of comedy which the researcher believes are necessary for this study are: the comic individual, verbal comedy, physical comedy, lack of feelings, unfulfilled expectations, the plot and the audience and western culture perspective. A comparison between the works of Milubi and Madima has also been made. Chapter Five gives the conclusion of the study. It also gives findings and some recommendations to new authors.

Thesis (Ph.D.(African Languages)) -- University of the North, 1972 / Refer to the document

Thesis (M.A. (African Languages)) -- University of Limpopo, 2017 / The study is about the use of suspense in Tshivenḓa literature. It focuses on a few selected drama works of prominent authors in Tshivenḓa. In a nutshell the study shows a critical role that suspense plays in drama. It argues that without suspense, a drama will not be worth reading or watching. Ṱhoḓisiso iyi yo ḓitika nga ndeme ya u sia muyani kha maṅwalwa a Tshivenḓa. Nyombedzelo i ḓo vha kha kushumisele kwa ndeme kwa u sia muyani kha ḓirama dza vhaṅwali vho bvumaho kha Tshivenḓa. Ṱhoḓisiso ino i ima kha ḽa uri ḓirama i nga si takadze arali ha shaea tshiteṅwa tsha u sia muyani.

MAAS / M. E. R. Mathivha Centre for Languages, Arts and Culture

MA (Tshivenda) / Senthara ya M.E.R. Mathivha ya Nyambo dza Afrika, Vhutsila na Mvelele / See the attached abstract below

M.E.R. Mathivha Centre for Languages, Arts and Culture / MAAS

The thesis of this study revolves around the validity of Tshivenda literature as an authorative commentary on Mission Work in Venda. The value of literary works by selected Tshivenda writers is explored on three important directions: (a) as a source of information on the Vhavenda world-view which is an important aspect in the Vhavenda's understanding of the Missionary message; (b) as a source of challenge to missiology, and (c) as a source of basis for an in-depth contextual missiology. The well-meaning contributions of the German Missionaries is appreciated. Their influence through the spreading of Lutheranism and also in the birth of Tshivenda literature is clearly recognized. My task has not only been to see these positive contributions, but also to problematise and explore both the missionary instrumentality and the local responses that are reflected in the Tshivenda literature. Our first four chapters introduce the thesis, they cover political history of the Vhavenda which is fundamental in our understanding of their world-view and the early missionary works in Venda. Selected Tshivenda novels become the object of inquiry in the fifth chapter. The novels help us in our evaluation of Missionary Christianity. A wide variety of issues are contained in these novels which are significant in Mission work. The sixth chapter concentrates on selected Tshivenda short stories. In two of these short stories the issue of racism is highlighted. The seventh chapter looks into a few Tshivenda Poems. In two of these poems the Missionary-rejected name for God, Nwali, is heavily used. The last chapter contains the essential commentary of indigenous Tshivenda literature on Missionary Christianity as well as the implications for both global and local Missiology. / Missiology. / M.(Theology)

The thesis of this study revolves around the validity of Tshivenda literature as an authorative commentary on Mission Work in Venda. The value of literary works by selected Tshivenda writers is explored on three important directions: (a) as a source of information on the Vhavenda world-view which is an important aspect in the Vhavenda's understanding of the Missionary message; (b) as a source of challenge to missiology, and (c) as a source of basis for an in-depth contextual missiology. The well-meaning contributions of the German Missionaries is appreciated. Their influence through the spreading of Lutheranism and also in the birth of Tshivenda literature is clearly recognized. My task has not only been to see these positive contributions, but also to problematise and explore both the missionary instrumentality and the local responses that are reflected in the Tshivenda literature. Our first four chapters introduce the thesis, they cover political history of the Vhavenda which is fundamental in our understanding of their world-view and the early missionary works in Venda. Selected Tshivenda novels become the object of inquiry in the fifth chapter. The novels help us in our evaluation of Missionary Christianity. A wide variety of issues are contained in these novels which are significant in Mission work. The sixth chapter concentrates on selected Tshivenda short stories. In two of these short stories the issue of racism is highlighted. The seventh chapter looks into a few Tshivenda Poems. In two of these poems the Missionary-rejected name for God, Nwali, is heavily used. The last chapter contains the essential commentary of indigenous Tshivenda literature on Missionary Christianity as well as the implications for both global and local Missiology. / Missiology. / M.(Theology)

Text in TshiVenḓa with abstracts in TshiVenḓa and English / The purpose of this study was to contextually describe and analyse how male authors of Tshivenḓa drama books have in their dialogue portrayed female characters in the manner that it may tend to educate or encourage the public to criticize and abuse them in communities and society. In Tshivenḓa literature therefore, some male authors of drama books have tended to misrepresent the characterisation of women. It is presumed that the ways in which women are portrayed in some Tshivenḓa dramas by male authors, tend to normatively educate, socially reproduce and sustain the abuse of women within communities and society in which they live. In most of these drams, male authors have written their bias, contextually depicted women unfairly shown and criticised them in different sorts of ways. The researcher applied the Ethnography of communication, Social constructionism, Feminism and Critical discourse analysis theories. These theories enabled her to understand that language in the hands of authors can be used to reproduce power, dominance, control and power abuse. This led her to focus on related literature which proved that indeed the problem exists. Methodically this is a qualitative descriptive study in which the documentation ‘Document Analysis’ dialogue of seven purposefully selected drama books were considered and data collected. It used Neuman’s (1996) Analytic Comparison which applies the method of agreement and method of difference. When the data was analysed, there emerged themes which carry findings. In brief, the results of this study inter alia show that some male authors of selected Tshivenḓa drama books, described women as weak, poor decision-makers and powerless in communities and society at large. On the other, in the characterisation of men, they show them as social architectures of how women should be seen as depicted, thereby dominated and mistreated objects. It also found that Tshivenḓa culture was misrepresented and incorrectly applied to criticise, dominate, discriminate and justify the abuse of women by husbands and relatives, mainly in-laws. The results also suggest that within the context, male authors socially subject our children (both boys and girls as reader of such books), to indoctrination and social education as unequal partners in society in which they live. / Tshipikwa tshihulwane tsha ino ngudo ho vha u ṱalutshedza na u saukanya nḓila dzine vhaṅwali vha vhanna vha ḓirama dza Tshivenḓa vha shumisa ngadzo nyambedzano u bveledza vhaanewa vha vhafumakadzi uri hu ṱuṱuwedzwe vhadzulapo u vha sasaladza na u vha sathula hune vha ḓiwana vhe hone zwitshavhani. Kha maṅwalwa a Tshivenḓa, vhaṅwe vhaṅwali vha bugu dza ḓirama vha anzela u sa bveledza vhaanewa vha vhafumakadzi nga nḓila i si yone. Zwi dzhiiwa uri nḓila dzine vhafumakadzi vha bveledzwa ngadzo kha ḓirama dza Tshivenḓa dze dza ṅwalwa nga vhanna dzi na u funḓedza, u bveledza na u engedza tshengedzo ya vhafumakadzi hune vha dzula hone na vhukati ha zwitshavha. Kha ḓirama nnzhi, vhaṅwali vha vhanna vha ṅwala vho sendamisa kubveledzele, vha bveledza vhafumakadzi nga nḓila ine vha sathulea lwo kalulaho. Muṱoḓisisi o shumisa thyiori dzo fhambanaho sa ya Nyambedzano ‘Ethnography of communication, ya Vhufhaṱavhuvha ‘Social constructionism, ya Vhulwelambofholowo ha vhafumakadzi ‘Feminism’, na ya Tsaukanyo yo dzhenelelaho ya mafhungo ‘Critical discourse analysis.’ Thyiori hedzi, dzo thusa muṱoḓisisi u pfesesa uri luambo zwanḓani zwa uṅwali lu a kona u shumiswa u bveledza maanḓda, u tsikeledza, u vhusa na u shumisa maanḓa nga nḓila i si yone. Hezwi zwo mu thusa u lumbama kha maṅwalwa o teaho ane khao hei thaidzo ya vha khagala. Ri tshi ya kha Ngona ya ṱhoḓisiso, muṱoḓisisi o shumisa nḓila ya Khwalithethivi he a wana mafhungo nga nḓila ya u sengulusa zwo ṅnwalwaho zwa nyamedzano kha bugu dza sumbe dze a nanguludza zwo bva kha ene muṋe. Ho shumiswa nḓila ya Neuman (1996) ya Tsenguluso yo ṱanḓavhuwaho ‘Analytic comparison’ ine ya shumisa nḓila ya thendelano ‘method of agreement’ na ya phambano ‘method of difference’. Musi mafhungo o no saukanywa, ho bvelela thero dzo hwalaho mawanwa a ṱhoḓisiso. Nga u pfufhifhadza, mawanwa a hei ngudo, o sumba uri vhaṅwe vhaṅwali vha vhanna vha ḓirama dzo nangiwaho vha bveledza vhafumakadzi vhe vhathu vha si na vhuimo, vha sa koni u dzhia tsheo nga vhone vhaṋe nahone vha si na maanḓa hune vha wanala hone na kha zwitshavha. Kha ḽiṅwe sia, musi vha tshi ḓibveledza, vhaṅwali vha vhanna vha tou ḓitakula sa vhomasithesela vhane vha tea u vha na vhukoni ha u bveledza vhafumakadzi, u ralo vha kona-ha u vha ṱana vhe vhane vha tsikeledzwa na u shengedzwa. Zwo ḓo wanala uri na musi zwi tshi ḓa kha mvelele, hunzhi yo shumiswa nga nḓila i si yone saizwi i tshi vho shumiswa u sathula, u tsikeledza, u ṱalula na u khwaṱhisa u shengedzwa ha vhafumakadzi nga vhanna vhavho na mashaka, nga maanḓa vha vhuhadzi sa vhomazwale. Mawanwa a dovha a sumbedza uri zwo ralo, vhaṅwali vha vhanna vha fhaṱa muya kha vhana vhashu (vhatukana na vhasidzana sa vhavhali vha idzi bugu) wa u tou dzivhela na u funza avho vhana uri vhutshiloni hu na vhadzulapo vha vhuimo vhu sa lingani zwitshavhani ngeno zwi si zwone. / African Languages / D. Litt. et Phil. (African Languages)