A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the department of Isizulu naMagugu in the Faculty of arts at the University of Zululand, 2005. / Lona umsebenzi wocwaningo ohlelwe ngokwezahluko eziyisikhombisa. Leso naleso sahluko sigxile emgomeni owodwa ogqamile ezinkondlweni zembongi ekhethelwe lolu cwaningo u-EJ Mhlanga. ISAHLUKO 1: sendlalela ucwaningo ngokucubungulisisa izinhloso, izindlela nomkhawulo wocwaningo kanye nomlando wembongi okuhlaziywa izinkondlo zayo. Kugxilwe ezinhlosweni zokucwaninga imvumelwano, ifanamsindo, ukuxhumanisa, impindamqondo nempindwa kanye nesigqi. Umkhawulo wocwaningo ugxile emaqoqweni ezinkondlo ayisithupha, okukhethwe izinkondlo ezingamashumi amane nesithupha ezihlungelwe lolu cwaningo. Kusetshenziswe izindlela zocwaningo ezimbili: indlela yemibuzo negokufundwa kwezincwadi eziqukethe imigomo yokuhluza. ISAHLUKO 2: sithinta imvumelwano ezinkondlweni eziqokiwe. Sigqamisa izindawo izimvumelwano ezitholakala kuzona: ekuqaleni, maphakathi nasekugcineni kwemigqa yezinkondlo. ISAHLUKO 3: kucutshungulwe ukufana kwemisindo ukusukela konkamisa, ongwaqa kuze kufinyelele kumalunga. Kuhlaziywe kabanzi ofanankamisa, fanangwaqa nefuzamsindo ekuvezeni imiqondo nemigqumo ezinkondlweni. ISAHLUKO 4: lapha kucwaningwe ngokuxhumanisa kwagxilwa ezindaweni okwenzeka kuzona: ekuqaleni, maphakathi nasekugcineni kwemigqa yezinkondlo. Kuhlaziywe nendlela okwenzeka ngayo okuthinta ukweqa imigqa, ukuphambana, ubunxemu nokuba mazombe. ISAHLUKO5: siveza ukusebenza kwempindamqondo egqanyiswe ukusetshenziswa kwamagama aphindiwe ngenhloso yokuletha umgqumo ezinkondlweni. Impindwa ivuzwe ukuphindeka kwemigqa ekuqaleni, mmaphakathi nasekugcineni kwezingaba zezinkondlo. ISAHLUKO 6: kucutshungulwe isigqi esigqanyiswe ukwelekana kwemigqa, ukweqiwa kwawonkamisa, amalunga namagama athile aphelele. Kuhlaziywe izigaba, izindima nezikhawu ezitholakala ezinkondlweni ezikhethelwe lolu cwaningo. ISAHLUKO 7: siqoqela ndawonye imiphumela nezincomo zocwaningo. Kuvela iziphakamiso nezinselelo okufanele zihlolisiswe ngabanye abacwaningi ekuhluzweni kwezinkondlo.

Submitted in fulfillment of the requirements for the degree Doctor of Philosophy in the Department of IsiZulu Namagugu at the University of Zululand, 1999. / Lolu cwaningo luhloIa isakhiwo kanye nobumqoka bamabubo kanye nezaga kumbe iziqubuIo zesiZulu. KumeIe sithole iqhaza elibanjwe yizaga namabubo ekuthuthukisweni kolimi IwesiZulu. Le ntuthuko yolimi incike nkomo ekusetshenzisweni kwamagarna, amalunga nezinhlamvu ekwakhiweni kwemigqa, imisho kanye namabinza. Kukulolu khalo lapho kutholakala incazelo enobunzulu enothisa futhi inonise izinjulamqondo nezinzululwazi ezisebunkondlweni obufukanyelwa ngarnabubo nezaga. Esahlukweni sokuqala kuvezwa inhloso yalolu cwaningo. Kuvela ukuthi abacwaningi abanakuphumelela kahle hle ukuhlaziya izinkondlo zesimanje uma belahlisa okwenyongo yenyathi isizinda sobunkondlo esisemabubeni nasezageni. Kuyahlaluka ukuthi kulukhuni ukuhlola amabubo nezaga njengengxenye yobuciko bomlomo ngaphandle kokusondeza isiko kanye nomculo. Isakhiwo nobumqoka bamabubo nezaga buqokwe ngoba kubonakele ukuthi yilapho ubunkondlo bezibongo zamakhosi, eziyisizinda sezinkondlo zesimanje buxajelelwe khona. Kunamagama athe phecelezi, enyusa izinga neqophelo lobunkondlo. Kuba yizinkobe esizihlafuna qede kuqine amabamba ukuba kusetshenziswe amagama esiwaziyo ukuze sithole incazelo ethe phecelezi, ebesingayilindele nesingayaziyo. Lokhu kufakazelwa yilesi saga esigama linye: Ntunjambili! Lesi saga asisitsheli ngendawo yaseNtunjambili, nangetshe likaNtunjambili lasezweni loDemane noDemazane. Ngalesi saga uShaka wayesuke ehlose ukuba impi yakhe iguqule indlela yokulwa. Lokho nje, kuyayikitaza ingqondo. Kuba wukudla kwayo okuyenza indize iyokhotha isibhakabhaka. Yehle iyobhukuda otweni oluphehla amanzi ngaphansi komhlaba. UKhumalo, (1993:66) uthi: Wayeyikhuza ngesokuyinqanda noma esokuyishintsha. Wawuzwa ekhuza uNtunjambili. Isahluko sesibili siqondene nesakhiwo kanye nezindikimba ezidingidwa ngamahubo. Isakhiwo samahubo siveza amahubo anesigqi sempi, uthando, nokufa. Umahluko osobala phakathi kwamahubo nezaga wukuthi amahubo ayahutshwa kepha izaga ziyakhuzwa. Ukuhutshwa kwawo kuwanika isigqi esehlukile kwesezinkondlo ezejwaye1ekile. Impimiso, ukudonsa, ukuphakama nokwehla kwephimbo enkondlweni eyejwayelekile akufani nasemahubeni. UNgcongwane, (1974:98) uthi: Die woorde wat gesing word, word gewoonlik nie op dieselfde wyse uitgespreek as wanneer daar gepraat word nie. Sang en praat kan nie dieselfde wees nie, al kan die woorde wat gebruik word nog dieselfde wees. Ubumqoka bamahubo obuvezwa yilesi sahluko, singaqoqeka ngokuba sicaphune uKhumalo, (1993:45): Yuhlobo olunomlando ongumgogodla wesizwe. Yuhlobo lolu oluphethe amahubo esizwe afana nemikhuleko yaso, kanye nawempi. Aphathwa ngesizotha esimangalisayo ngoba kwawona anesizotha. Avusa usinga, amadlingozi nombhejazane eNkosini, emabuthweni kanye nasezweni jikelele ngoba athinta izehlakalo ezimqoka zesizwe esezagcinwa njengomlando. Isahluko sesithathu siqondene nesakhiwo kanye nobumqoka bezaga. Ngokwesakhiwo kutholakala izaga ezimfishane nezinde. Ezageni ezimfishane kukhona ezigama linye, ezingadingi mpendulo kepha impendulo kuba yisenzo njengalezi: Ngadla! Khwishi! Maluju! Ntunjambili! Khumu! Zikhona izaga ezigama linye ezidinga impendulo njengalezi: Inselele! Woz' uyithathe! Rebe! WuSuthu! Ekhanda! Pho! Izaga ezinde zibonakala ngokuba induna isho wnusho bese iviyo liphendula ngomusho kumbe ibinza: Wawuyaphi? Wawuyaphi kwesensimbi, Iyashis' insimbi, Zish' ukhence? Ubumqoka bezaga wukunikeza umfutho namandla okuqukula into esindayo. Ezokweshela ziqunga insizwa isibindi ukuze ingesabi ukuzibika entombini. Ezempi zinika amabutho umhanehu nomqhanagu wokuya empini engasenandaba noma angafa. UKhumalo, (1993:63) uthi: Zikhuzwa ikakhulukazi ezimpini, nasemikhosini eyehlukene yesizwe, ukuvusa amadlingozi, usinga nombhejazane ezinsizweni. Zize zisuse usinga, ziqunge isibindi nje ngoba zakhiwe ngezehlakalo nezigameko zobunzima, zokuhlabana, zobuhlakani, zobunzulu, zokunqoba kwesizwe esithile. Isahluko sesme sithandanisa amahubo nezaga nobuciko kanye nobunyoningco obusetshenziswa yizimbongi ezibongweni zamakhosi. Kuze kube nemigqa equkulwa emahubeni injengoba injalo iyiswe ezibongweni zamakhosi kubuye kuhlanekezeleke. Kukhona amagama asezibongweni zamakhosi, agcina inkosi isibizwa ngawo, ahaywayo uma kuteketiswa inkosi. Lokhu kudalula ukuthi amahubo nezaga kuyingxenye engangatshazwa yobuciko bomlomo. Lokho kufakazelwa wukuxhumana . kolibo lwamakhosi kusuka kuIeyo ebusayo kuze kufike kuleyo eyadabuka oHlangeni. Kulolu lungelunge Iwezizukulwane ngezizukulwane kuyahutshwa, kuyakhuzwa futhi kuyabongwa Isahluko sesihlanu sibeka obala ubunkondlo bamahubo nezaga uma kuvela ukusetshenziswa kwezifengqo kuIo msebenzi wobuciko besizwe. Kuvela isifaniso, isingathekiso, ihaba, ifanamsindo, ukusikisela, umbhinqo, umbhuqo, ukwenzasamuntu kanye nokwenza-sasilwane. Isakhiwo esinongwe ngezifengqo siyolisa ulimi ukuze igama elilodwa emsebenzini wobuciko, likhulume kakhulu kunoma Iibhaliwe. Yile ncazelo enobunzulu eveza isigqizo zokunona kanye nokunonophala kolimi okhalweni lwezifengqo. Esahlukweni sesithupha kuvezwa isakhiwo sangaphandle emahubeni nasezageni. Kuvela amabinza, imigqa, amagama, amalunga, izinhlamvu kanye nezimpawu zokukhanyisa. Kukulolu khalo lapho sithola ukuxhumana, impindwa, imvumelwano kanye nesigqi. Lo mcako wengaphandle lamahubo nezaga awugcini ngokuhlobisa amahubo nezaga, kepha uletha ubunzulu, ukujiya kanye nokunonisa ingqikithi nenkotha yobunkondlo. Esahlukweni sokugcina kuvezwa ukuhlaziywa kocwaningo. Kulolu khalo kucofiywa kubuye kugqanyiswe konke okutholakele ocwaningweni obelwenziwa. Kuvela izincomo ezihambisana nezizathu ezidala kunconywe lokho okuphakanyiswayo. Inhloso yalezi zincomo wukudiliza amavundululu asahlala aze akhela ezinhliziyweni zabantu abafenyisa amahubo kanye nezaga. Esiphethweni kuboshwa onke amaxhama abe yinto eyodwa hnijokujoku esala ilenga iyaboshwa ukuze ithandaniswe nomqulu wonke. Eng = This research explores and analyses the composition and the significance of amahubo and izaga in isiZulu. The objective is to discover the role and the contribution of these two targeted terms towards the enrichment of the Zulu language. This study depends on the general language usage, terminological expansion, syllabification, prosodies, lines and verses found in amahubo and izaga. The semantic applicability of the words enriches the lines and the verses of the war-cries and the war-songs with highly poetic philosophy. The aim of this study is exposed in chapter one. The exposition demonstrates that it is difficult to analyse the modem poetry if the traditional poetry is ignored. The composition and the significance of izaga and amahubo has been chosen for the purpose of this study because it is where the inner core of the traditional praise poetry is embedded. It is difficult to understand the modern poetry if the traditional poetry is overlooked. It is in the traditional praise poetry where the problem of terminological confusion is solved. The words with deeper semantic value uplift the standard of poetry. There is a single-worded-war- cry: Ntunjambili! The above war-cry neither signifies the place of Ntunjambili nor the legendary rock 'Ntunjambili". This was Shaka's war-cry which commanded the regiments to change the strategy of their attack. This is philosophical and it puzzled the minds of the enemies. Khumalo, (1993:66) says: Wayeyikhuza ngesokuyinqanda noma esokuyishintsha. Wawuzwa ekhuza uNtunjambili. (He used the war-cry to command them to stop or change their fighting strategy. You could hear him saying Ntunjambili!) The second chapter concentrates on the composition and the significance of war-songs. It reveals the themes threshed in the war-songs. The rhythm of war, love and death is found. This chapter unfolds the difference between war-songs and war-cries i.e. the war-songs are sung while the war-cries are memorised. The rhythmic music found in amahubo differs from the normal rhythm of the general poetry. Pronunciation and the tonological supra-segmental qualities imposed on syllables is more emphatic in amahubo than in izaga and the normal poetry. Ngcongwane, (1974:98) says: Die woorde wat gesing word, word gewoonlik nie op dieselfde wyse uitgespreek as wanneer daar gepraat word nie. Sang en praat kan nie dieselfde wees nie, al kan die woorde wat gebruik word nog dieselfde wees. The significance of the war-songs as revealed by this chapter can be summarised by citing Khumalo, (1993:45): Yuhlobo olunomlando ongumgogodla wesizwe. Yuhlobo lolu omphethe amahubo esizwe afana nemikhuleko yaso, kanye nawempi. Aphathwa ngesizotha esimangalisayo * ngoba kwawona anesizotha. Avusa usinga, amadlingozi nombhejazane eNkosini, emabuthweni kanye nasezweni jikelele ngoba athinta izehlakalo ezimqoka zesizwe esezagcinwa njengomlando. (War songs have the historical background of the nation. They are the prayers of the nation. Some of them are sung in war. They are sung with dignity because they are dignified. They raise oomph to the king and his regiments. This enthusiasm causes the regiments to go to the battlefield with gusto because war-songs touch the nation's historical events.) The third chapter explores the composition and the significance of the war-cries in isiZulu. This chapter divides the war-cries into two categories, namely, short and long war-cries. The short war-cries are divided into a single-worded-war-cry which does not need an answer such as: Ngadla! (I have eaten!) Sigidi! (A million!) Khwishi! (To arms!) Maluju! (Let us stop fighting!) Ntunjambili! (Change the fighting strategy!) Khumu! (Stop fighting!) There are single-worded-war-cries which need answers: Inselele! Woz' uyithathe! (Let us fight! Let it be!) Hebe! WuSuthu! The long war-cries are characterised by the leader calling a sentence and the answer becoming a sentence or a verse such as: Wawuyaphi? Wawuyaphi kwesensimbi, Iyashis' insimbi, Zish' ukhence? (Why did you go? Why did you attack Nsimbini people, The iron is hot, We hear its sounds when it falls). The war-cries encourage people to lift the heavy loads. They give the young men the zeal and inherent desire to court or propose for love from the ladies. War-cries give the regiments the prowess to fight. Khumalo, (1993:63) says: Zikhuzwa ikakhulukazi ezimpini, nasemikhosini eyehlukene yesizwe, ukuvusa amadlingozi, usinga nombhejazane ezinsizweni. Zize zisuse usinga, ziqunge isibindi nje ngoba zakhiwe ngezehlakalo nezigameko zobunzima, zokuhlabana, zobuhlakani, zobunzulu, zokunqoba kwesizwe esithile. (They are normally used in battles and wars, national ceremonies, to give young men enthusiasm and prowess to fight. This happens because they are composed of the events of hardship, killing, intelligence, philosophy and the proud conquering of a certain tribe.) The fourth chapter links the poetry found in amahubo and izaga with the traditional praise poetry used by the king's bards. Some of the lines are taken as they are from the war-songs to the praises of the Zulu kings and vice versa. There are words that refer to the king's praises in amahubo. This proves that war-songs and war-cries are the part and parcel of the traditional literature or Folklore. The fifth chapter discusses the figures of speech which are sometimes used as imageries. The imagery is found in certain lines of amahubo and izaga. Those are simile, metaphor, hyperbole, paradox and personification. The use of imagery uplifts the standard of poetry as the word in the literary text have more semantic value than as it stands in isolation. The sixth chapter discusses the form of amahubo and izaga. The verses, lines, words, syllables and sound system of the language is discovered. This chapter elaborates on linkages, repetition, refrains, rhyme and rhythm. Chapter seven deals with the findings, recommendations and conclusion of the research.

This study concerns itself with indigenous knowledge systems related to religion and healing as encapsulated in Nxumalo and Buthelezi's poetry. Most of the poems referenced in this study are laced with religion and healing, with the aspects of healing being related to religion and success? In short, the healer has to be upright as far as religion is concerned. Any deviation from religious norms and values tarnishes and nullifies the healer's expertise and their ability to heal. In short the ancestral spirits dislikes deviant behaviours such as witchcraft, when the healer lives in two worlds, that of healing and that of bewitching others. The ancestors strip the healer of the healing powers, as a punishment. To gain their expertise, the practitioners of religion and healing undergo training in the art of detecting illness and witchcraft using bones and other devices, and this training, to a greater extent, must come with the approval of ancestors. It is also upon the diviners and traditional healers to perform rituals when death has struck, by preparing rituals that should enable the living dead to meet their ancestors spotless. Since, the indigenous people believes in the life-hereafter, it is believed that a person pursues with living, similarly to an earthly one even in death. It is believed that failing to perform these rituals, invites death to encroach and repeatedly strike the community or family. Witchcraft is deplored in indigenous religions and communities often gather together with healers to fight against witches. In indigenous religions untimely death is believed to be the work of the witch. All in all indigenous religion and healing complement each other in the worship of the Supreme-Being through deities. In short, Chapter One concerns itself with a general introduction for the entire study. Some key concepts such as: indigenous knowledge systems; deconstruction; inter-textuality; new-historicism; influence and so on, will be discussed in this said chapter. Whereas Chapter Two discusses how theories like deconstruction, inter-textuality and new-historicism will be utilised in the study. Take for instance deconstruction is to be utilised since it deals with multiplicity of meaning in interpretation of poetry. Chapter Three deals with the link between Nxumalo and Buthelezi's poetry as they relate to indigenous religion and healing and the relevance of these two concepts. Chosen poems by Nxumalo and Buthelezi will be analysed in this regard. Chapter Four touches on instances of the indigenous knowledge system and how it is constructed within the poetry of Nxumalo and Buthelezi. Specifically, the position of the Supreme-Being and that of the deities will receive attention here. In Chapters Five, discussions of the instances of indigenous rituals within the selected poetry and the training of prospective traditional healers will be analysed. Finally, Chapter Six presents the conclusion, findings, recommendations and possible future directions for research in this field. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2010.

Submitted to the Faculty of Arts in fulfilment of the requirements for Master of Arts in the Department of African Languages at the University of Zululand, 1987. / This study has been made possible by our desire to look into the feasibility and effectiveness of the Western poetic devices in the writing of sonnets in Zulu. In chapter one the aim of this study is clearly spelt out. We hope that at the end of the investigation, we shall come out with some suggestions and possibilities of a Zulu type of a sonnet, for, we feel that there was a reason for the English to choose a different style from the Italian. The second chapter deals specifically with the definition of terms. These include, inter alia, the concept "sonnet" as espoused by various linguists; iambic pentameter and the rhyme scheme. In chapter three we firstly defined the major characteristics of sonnets. These major structural features of a sonnet are clearly depicted in Kreuzer's (1955:224) definition of a sonnet, that a sonnet is: a fourteen-line lyric poem, in iambic pentameter, following one or more rhyme schemes. It is clear, therefore, that a sonnet should consist of fourteen iambic pentameter lines and should follow a required rhyme scheme. Furthermore, in this chapter, the two types of sonnets were briefly outlined, namely the Petrarchan or Italian and the English or Shakespearean. The fourth chapter dealt with the formal elements of the three selected poets* sonnets in this investigation, namely, Ntuli, Masuku and Nxumalo. We looked closely into the division into fourteen lines, the iambic pentameter as well as the rhyme scheme that is being followed. As we scrutinised all the sonnets, these poets have contributed, with regard to these three external structural features, we also paid particular attention to their significance, that is, whether they contributed anything towards the delivery and portrayal of ideas contained in each sonnet. Content in Ntuli's,. Masuku's and Nxumalo's sonnets is analysed in the fifth chapter. In our analytic study of content, we looked closely into what each poet was writing about - the proposition each was advancing or the story each poet was telling in each sonnet. We came across a variety of subjects ranging from those discussing death to those that were purely social and political, and those with a religious background. We also looked closely into the approaches and artistic devices which the sonneteers employed in the portrayal of the ideas in their works of art. We noticed that these ranged frcm the less effective straight-forward prosaic narration to the more concentrated use of vivid imagery coupled with the rich and well-chosen words and ideophones. In this chapter we also examined the effectiveness of rhyme in the portrayal of content. In chapter six we analysed Ntuli's, Masuku's and Nxumalo's sonnets with particular attention on the meaning that is conveyed in each of the sonnets they have contributed. We also looked very closely into the techniques the poets employed to relay the four aspects of meaning to the readers, namely, Sense, Intention, Feeling and Tone. We also examined the effectiveness of Masuku's rhyme in the conveyance of the meaning in the sonnets whether it was contributory or not. The possibility of a Zulu type of a sonnet is dealt with in the seventh chapter. The last chapter is the general conclusion where all our observations and suggestions are summarised.

A dissertation submitted in fulfillment for the requirements of the Degree of Master of Arts in the Department of African Languages at the University of Zululand, 2001. / An investigation into Zulu poetry.

No abstract available. / Thesis (M.A.)-University of Durban-Westville, 2001.

Ph.D.

Submitted in accordance with the requirements for the Degree of Doctor of Philosophy in the Department of African Languages at the University of Zululand, 2000. / This study focuses on the explication of some aspects of Christian Themba Msimang's poetry. The aspects that are explored are themes, imagery and form. The investigation is broadened by employing three text-oriented approaches: The Russian Formalists, New Criticism and Structuralists theories. The introductory chapter entails the general introduction, statement of the problem, approaches to the study, delimitation, background and historical survey of isiZulu poetry. In Chapter 2, various themes are explored in relation to spatial and temporal settings. Themes are approached from various perspectives and dimensions. They draw together the poet (as a sender) and the reader (as a receiver) through the text (the surveyed work). In Chapter 3, imagery is examined as descriptive images that are based on comparison, resemblance and association. The broader understanding, significance and the effective use of imagery are looked at from relevant examples cited as poetic diction, line, stanza or the whole poem. Chapter 4 is based on further surveyance of imagery. The images on contrasts and differences are cited and analysed. More emphasis is on secondary or connotative meanings for poetic and artistic value. The images are looked at as spontaneous and rhythmic poetic constructions. Chapter 5 deals with form. The "literariness" of the work is structurally determined from the organization of sounds, words, meanings and stanzas. Highly developed artistic form is evident as it combines poetry and rhetoric. The last chapter concludes with the evaluations and recommendations. The examined aspects are evaluated in relation to approaches for future research plans that could be undertaken.

A dissertation submitted in fulfillment of the requirements for the degree Masters of Arts in the Department of African Languages at the University of Zululand, 1999. / The aim of this study is to see if Msimang does emulate the plasticity of the sculptor. Does he make us see and feel what he desires us to see and feel in his poetry? It is the aim of this study to see if the form and substance in his poetry are well blended.

M.A. (African Languages) / Please refer to full text to view abstract