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

In this thesis I argue that recently recorded izibongo must be read as literary texts that articulate responses to the multiple forces of constraint and possibility at the urban-rural interface. I argue that when scholars transcribe and translate performance texts they release them into new contexts of reception, and that the mediation processes involved in this recontextualisation become an important part of the way in which the texts make meaning for their new 'audiences'. As such, it is imperative that analysis of print-mediated izibongo should take into account both the performance text and context as well as the intervention of literate intermediaries in the creation of a print text. I argue for maintaining a dialectic between performance textuality, which shapes the text as it is recited to a participating audience, and the textuality of transcription. We have thus to keep in mind at least two sets of receivers - those present at, and part of, the construction of the praise poem in performance, and the literate receiver, reading from a new moment and, often, a different social and cultural space. I argue that the scholar in English Studies has an important contribution to make to the recording and the study of izibongo as literary and performance texts. S/he must devise ways in which processes of translation and transcription can more adequately and creatively insist on performance textuality. The English Studies scholar must also read and write about izibongo as texts that have complex meanings and that speak to their changing contexts of reception. Such analysis necessitates attention to individual texts and requires of the critic a willingness to revise her/his learned ways of reading. There is a need in oral literary studies to challenge print-influenced academic discourses in order to make these theories more receptive to the actual ways in which many people make sense of their lives through creative expression. In this thesis I consider the ways in which contemporary postcolonial and poststructural theory might more adequately listen to what postcolonial people say about themselves and others. In this, I argue for an academic approach that privileges cultural interdiscursivity, interdisciplinary co-operation, and an attitude of respect for the different ways in which forms like izibongo construct meaning. This thesis thus has a dual focus: it examines how recently recorded praise poems address the problem of reconstructing identity at the urban-rural interface, while considering the ways in which they speak to the uncertain identity of the scholar who tries to read them. Drawn from a variety of sources, the poems comprise both official and popular praises to suggest not only the variety of the form, but also the ways in which individual and group identities speak to each other across texts. Given the importance of self-expression at the heart of the form of izibongo, I argue that scholars in English Studies must resist the possibility, both in transcription and in criticism, of eliding the individual subjects involved in mediating identity and textuality. I also suggest that English Studies has a duty to write the oral back into institutionally defined literary histories by considering how our writing and ways of reading can better accommodate oral textuality. / Thesis (M.A.)-University of Natal, Durban, 2001.

A vigorous oral tradition has existed throughout South African history, and in many ways represents our truly original contribution to world literature. Despite this, oral literature is largely absent from accounts of literary history in this country. While the particular oppressions of South African political life have contributed to the exclusion of oral forms, the suppression of the oral in favour of the printed text is a feature of literary studies worldwide, and appears to be related to the critical practices that have been dominant in universities and schools for most of this century. In this study I consider ways of recovering oral forms for literary debate, and offer what I consider to be more appropriate strategies of 'reading'. My aim is to re-establish a line of continuity in South African poetry and performance from the songs and stories of the Bushmen, through the praise poems of the African chiefdoms, to the development of Christianised oral forms, the adaptation of the oral tradition in 'Soweto' poetry of the 1970s, and the performance of poems on political platforms in the 1980s. Recovering oral poetry and performance genres for literary debate requires the development of an appropriate critical methodology. Through a consideration of advances in the study of orality, I aim to suggest ways of reading which grant credence to the specific strategies and performative energies of oral texts while locating the texts in the spaces and constrictions of their societies. A great many oral texts from the past survive only in printed, translated forms, however, and a key aspect of such a critical project is how - while acknowledging the particular difficulties involved - one 'uses' highly mediated and artificially stabilised print versions to suggest something of the dynamic nature of oral performance in South African historical and social life. This thesis also considers how texts address us across historical distances. I argue for maintaining a dialectic between the 'past significance' and 'present meaning' of the poems, songs and stories: for allowing the past to shape our reading while we remain aware that our recuperation of history is inevitably directed by present needs and ideologies. These ideas are explored through five chapters which consider, respectively, the songs and stories of the nineteenth-century /Xam Bushmen, the izibongo of Shaka, the hymns of the Messianic Zulu evangelist Isaiah Shembe, Ingoapele Madingoane's epic 'Soweto' poem "black trial", and the performance poetry of Mzwakhe Mbuli and Alfred Qabula in the 1980s. / Thesis (M.A.)-University of Natal, Durban, 1995.

The aim of this study was to investigate the strategies used to transfer aspects of culture in the translation of an English novel into Zulu. For this purpose, C.L. S. Nyembezi' s Zulu translation, Lafa Elihle Kakhulu ([1957] 1983), and Alan Paton's Cry, the Beloved Country ([ 1948] 1966) were used. In the study a cultural model for translation, used within the descriptive translation studies paradigm, was adopted in order to conduct a comparative analysis of proper names, terms of address, idiomatic expressions, figurative speech and aspects of contemporary life. It was found that Nyembezi mainly used cultural substitution, transference, domestication, addition and omission as translation strategies. The findings also showed that in resorting to these strategies certain rnicrotextual shifts resulted in macrotextual modifications of the translated novel as a whole. The macrotextual elements of the translated text most affected by microtextual shifts are characterisation and focalisation which, in turn, influence style and theme. / African Languages / M.A. (African Languages)

This research is entitled "The historical representation of the praise-poetry of the two Zulu kings, Dingane and Mpande." In this study the researcher is trying to explore the ways in which history is portrayed in these two above mentioned kings. This is done firstly by looking particularly at their historical outlooks and secondly by looking at their praises. In traditional Zulu society, every Royal king has to possess praises. Therefore the praises basically contain historical events. The analysis of the findings reveals that king praises contain largely of the heroic deeds, body features and characteristics of the kings. Based on this statement it therefore stands to reason that the king praises cannot be considered merely as a complete history of the Zulu kings. The data collection was carried out through interviews and through reading books for each king. It must be noted that the king praises are only performed by a bard/imbongi. The king praises serve as a mirror that detects how the king live and perform the duties of the nation. / Thesis (M.A)-University of KwaZulu-Natal, 2007.

The study concentrate on a critical analysis of Elliot Zondi's historical dramas, Insumansumane and Ukufa KukaShaka. The study constitutes an attempt to apply the theoretical approaches. The plays have been chosen only for reasons of my personal acquaintance. The whole study is divided into six chapters. Chapter one focuses on the general introduction. The general introduction will cover the aim of the study, research methodology, historical background of the plays, definition of terms and the biographical notes of the author. At the end of this chapter there will be a conclusion. Chapter two, deals with theme. The theme covers the following sub topics: title in relation to theme, the comparison between the theme and plot, theme and style, theme and dialogue, theme and characters, types of themes such as: theme of loyalty, theme of poverty, love, political violence and the moral lesson found in Elliot Zondi's historical drama books. Chapter three concerns itself with style and dialogue. Style and dialogue will look at the sentence construction, language, figures of speech, title and symbolism. Chapter four concentrates on plot and characters, which covers exposition, motoric moment, conflict, complication, tension, climax, suspense in the title, beginning, the middle and the end of the play, characterization, naming of characters, types of characters, kinds of characters and the development of characters. Chapter five deals with setting, which covers time, place and social circumstances. There will be a short summary, which leads to the discussion of the following chapter. Chapter six focuses on the general conclusion. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

No abstract available. / Thesis (M.A.)-University of Natal, Durban, [1959?]

No abstract available. / Thesis (M.A.)-University of Natal, Durban, 1985.

It occured to me that scholars who undertake to explore praises in Zulu have centred much analysis on praises of human beings and very little on those of domestic animals. Domestic animals are very close environmental company to any Black person in South Africa, especially to those who reside in farming areas. This study demonstrates that the domestic animal merits praise because it constitutes a kind of relative and colleague to a Black person. The first chapter gives a general layout of those to follow. What one has to note in the first chapter is the assessment of the extent to which scholars have made studies towards assessing praises of domestic animals. To be more precise, about six books have been identified containing some gleanings on the praises of domestic animals . This scarcity of documented sources for these praises together with the fact that praises of domestic animals are still mainly part of oral tradition constitute the main reason prompting this study. Chapter Two analyses hopefully in depth the social aspect of praises of domestic animals. We deduce from the numerous facts emerging from the inter-relationship between owner and animal that the main reason for the existence of the praises in question, is to forge links that bind poet and animal together. Aspects discussed in Chapter Two are, among others, the purpose of praising which examines the effect of praises on both the animals themselves and the community at large. The chapter also looks at the various poets in this field, the occasions during which domestic animals are praised, and the kind of audience anticipated when praising these animals. Though almost all the poets in this regard are wholly nonliterate, the praises they compose are nevertheless rich in literary constructions. They decorate the praises with all sorts of poetic expressions. One may even imagine that the praises of domestic animals were composed by modern learned poet who composed them by transcription and had all the skills to adopt the most impressive literary forms. Chapter Four sums up the role of praises of domestic animals on society as well as the literary richness that the praises possess. On the other hand this chapter Four is also to be taken as the summary and distillation of the previous ones. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 1992.

In this dissertation, I argue that there is a pressing need in post-apartheid KwaZulu-Natal to re-assess the eighteenth- and nineteenth-century histories of the region from the perspectives of people whose ancestry was dispossessed and/or displaced in the wars that took place in that period, particularly those that elevated Shaka to dominance. I suggest that because of their retrospective manipulation by the vested interests of power politics, historical processes over the past two centuries, and in the last century in particular, have invested the figure of King Shaka and 'Zulu' ethnic identities with unitary meanings that have made them close to inescapable for most people who are considered 'Zulu'. I argue that there is, therefore, a need to recuperate the histories of the clans which were defeated by the Zulu and welded into the Zulu 'nation'. Following British-Jamaican novelist Caryl Phillips' strategy, I begin to conduct this recuperation through a process of subverting history by writing back into historical records people and events that have been written and spoken out of them. I argue that literary texts, izibongo ('personal' praises) and izithakazelo (clan praises) in this case, offer a useful starting point in recovering the suppressed or marginalised histories of some of the once-significant clans in the region. In the three chapters of this dissertation, I examine the izibongo of three late eighteenth-/early nineteenth-century amakhosi (kings) in the present KwaZulu-Natal region, Shaka kaSenzangakhona of the Zulu clan, Phungashe kaNgwane of the Buthelezi and Zwide kaLanga of the Ndwandwe. In the first chapter, I read Shaka's izibongo as an instance of empire-building discourse in which I trace the belittling representations granted Phungashe and Zwide. In the second and third chapters, I set Phungashe's and Zwide's izibongo, respectively, as well as the histories carried in and alluded to by these texts, and the clans' izithakazelo, alongside Shaka's and examine the extent to which the two amakhosi's izibongo talk back to Shaka's imperialism. I also follow the later histories of the two amakhosi's clans to determine which individuals became prominent in the Zulu kingdom under Shaka and after, as well as point to the revisions of the past that are being conducted in the present by people of the two clans. The versions of the izibongo I study and the hypotheses of history I present are drawn from sources that include the James Stuart Archive, A.T. Bryant, and oral historical accounts from several people I interviewed. Given the present imperatives in South Africa of bringing justice to the various peoples who were dispossessed under colonial and apartheid domination, I argue that recuperating the histories of the clans that were conquered by the Zulu under Shaka's leadership problematises questions of justice in KwaZulu-Natal: if it is legitimate to claim reparation for colonialism and apartheid, then the Zulu kingdom should be viewed under the same spotlight because of the similar suffering it visited on many inhabitants of the region. In that way, we can transcend divisive colonial, apartheid and Zulu nationalist histories that continue to have strong, often negative, effects on the crossing of identity boundaries constructed under those systems of domination. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2004.