Abstract not available. / Thesis (M.A.) - University of Natal, Durban, 2000.

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)

Submitted in fullfilment of the requirements for the degree of Masters of Arts in the Department of History, University of Zululand, 2011. / This thesis highlights historical sites with tourism potential between the Tugela and Lower Umfolozi Rivers up to Kosi Bay and the Mozambique border. This is roughly the area administered by the Uthungulu Regional Council today. These historical sites are monitored and administered by two most important acts i.e. the National Heritage Resources Act No. 25 of 1999 and the KwaZulu-Natal Heritage Act No. 10 of 1997. This research project comprises four chapters. It examines factors related to pre-colonial Zulu culture and focuses on how these factors could attract tourists. Furthermore it deals with historical places rich in tourism potential, showing how these historical places can attract the tourists. Chapter one addresses Zulu history from the earliest times to the present and the important aspects shaping current Zulu culture. Chapter two deals with traditional ceremonies which are part of African culture. Chapter three deals with sites of archaeological and historical interest. It further identifies and describes specific areas that are rich in Zulu history. The fourth chapter examines the Maputaland area and the St. Lucia Node and surroundings. The purpose is to explore the tourism potential of each heritage site and or region. Zulu customs that have the potential to become tourist attractions are identified and discussed prior to conclusions, which are drawn in the last chapter.

Certain cultural practices present unspoken questions to women. While women may not be free to state these concerns upfront I argue that they have always had some means of expressing themselves in creative ways about issues that affect them. One issue that is investigated in this dissertation is the question of why women sing. This study, therefore, examines one of the channels, which are songs, that women and rural women in particular employ to deal with their day to day living. To this end I have selected cultural songs as one of the ways of demonstrating how women negotiate their spaces in the culture. The study is based on a community of women from Zwelibomvu near Pinetown, South Africa but goes beyond this as I believe that women in general speak for the majority of other women especially with regard to issues around gender and power inequalities. Songs have been selected as a genre and as a special form of expression that women in particular find easier to use to raise issues that affect them in their daily lives. The three hour DVD rendition that forms part of this study captures a synoptic view of the amount of raw data found in this study. Through the medium of song, and strengthened by the stories that they share, Zwelibomvu rural women are able to get a sense of relief and consolation from the burdens that they have and which they would like to share. Presented as a two part field work process, the first process involves the collection of songs in ceremonies and occasions and observing an d being part of the occasions and ceremonies where the songs that are sung by women are performed. This process culminates in the production of the three hour DVD rendition that forms part of this study and which captures a synoptic view of the amount of r aw data found in this dissertation. The second part mainly involves interviews of categories of respondents in similar settings/districts observed where ceremonies were attended and attempts to provide some insight into why women sing and the question of gender and power in contemporary women’s songs. Finally, the last chapters involve an analysis of songs with regard to themes that emanate from these songs as well as a review on their oral composition. / Thesis (Ph.D)-University of KwaZulu-Natal, Durban, 2008.

This thesis investigates the appropriateness and the accuracy of Mbhele's artistry in writing his one-act plays from Izivunguvungu Zempilo, Ishashalazi and Ezemihla Nayizolo. It considers the formal literary elements which include characterisation, themes, setting, plot, dialogue and style of the writer inclusive of the language that has been used. It also involves different kinds of themes that are revealed by this dramatist in his work. His themes cover all the aspects of life. This includes the exploration of the previous political situation and its effect on the lives of the people, the effect of the Western influences on black South Africans and the people's perspectives on education and religion. The theoretical framework that has been used in this study is the historical-biographical approach. The interview with the author has been very helpful in this regard. The purpose of the interview has been to develop some kind of understanding of the author's own ideas, his early life experiences, his educational background, and the sense of the situation the author writes about. This study consists of six chapters; the first chapter serves as the general introduction for the whole thesis. The author's biographical notes, the identification and the discussion of the research methodology and the definition of some important terms, form part of chapter one. In each chapter, there is an explicit explanation of each formal literary element in relation to Mbhele's one-act plays. Chapter two deals with both characterisation and plot, because plot deals with all the events in a story and the way in which these events are connected. All the events in a story involve the characters. Chapter three investigates the themes that are found in Mbhele's one-act plays, and the ways in which they are revealed. Chapter four consists of the dialogue and style of the writer, which includes his use of the language and the form of address used by the characters to address each other. Chapter five discusses the social background of the characters in relation to what they do in the plays. This includes their given social circumstances, the time and the place which the writer has created for them. Chapter six is the general conclusion for the whole study. It includes the summary, observation and some implications for further research. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

No abstract available. / Thesis (M.A.)-University of Natal, Durban, 2000.

Abstract not available. / Thesis (M.A.) - University of Natal, Durban, 2000.

No abstract available / Thesis B.A.(Hons)-University of Natal, 1983.

This study aims to do a comparative analysis of the historical depiction of the Zulu kings namely: King Shaka, King Dingane, King Mpande and King Cetshwayo. In this study comparison is drawn between Dhlomo's historical novels and Nyembezi 's anthology of praise poetry. This research is based on Interpretive paradigm because it emphasizes a need for in-depth reading and analysis of the oral presentation. That is why qualitative research methodology has been employed because it has allowed the researcher to analytical skills on the content and interviews with community members. In the analysis of these books; the researcher read; interpreted, compared and contrasted the contents thereof. In the researchers comparative study; the researcher discovered that there are some similarities and differences of content in the historical novels and praise poetry writings. This research examined the publication (relevant to this study) written by other authors about Zulu kings (these as deemed relevant for this research). The study went on to verify authenticity around the contents of praise poetry regarding these kings. Structured interviews were arranged and conducted; wherein it emerged that most of king Shaka's, king Dingane's and king Mpande's history has somewhat faded from the interviewee's memories. A lot of information was gathered around king Cetshwayo. This study also revealed that most of Zulu king's history is somehow distorted.Theories of Post-Colonialism and Orality were greatly employed during this research. Post-Colonialism theory was deemed relevant because most of these writings were done after the Zulus had been robbed of their land. Since praise poetry is oral art; an oral historian had to be consulted to emphasize the rich heritage contained in orality or oral art. It clearly emerged from this research that there is a lot of deliberate distortions of Zulu kings' history. This distortion is not only by Whites but also some Black African writers who still continue distorting the kings' history. It is suggested that there be a revisitation and rewriting of the Zulu kings' history and this be done taking into consideration past writings and interviews with knowledgeable historians. A lot of knowledge is contained in this thesis that can be helpful to all and sundry interested in historical writings and other literary genres. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2008.

This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.