This study compares the syntax of nineteenth-century Orange River Afrikaans with Dutch and synchronic Afrikaans varieties, with particular attention to Griqua Afrikaans. It provides an account of the differences that are found between the earliest attestations of an extraterritorial variety of the Dutch language on southern African soil (the so-called Cape Dutch Vernacular) with the present-day outcome. The data collected for this study originate chiefly from an hitherto undisclosed corpus of letters kept in the Namibian State Archives by the so-called Oorlam-Nama, people of mixed descent who lived on the periphery of the nineteenth- century Cape colonial society. This thesis argues that nineteenth-century Orange River Afrikaans is a representative continuation of the earliest developments in the linguistic contact situation that existed at the Cape. The thesis advances that literacy and social class are important factors in the assessment of the written record from the Dutch colony at the Cape. The thesis centers around the letters by one author, Jan Jonker Afrikaner, written over a period of nearly twenty years in the second half of the nineteenth century. This legacy is a unique contribution to the diachronic data concerning the development of Afrikaans. From the data it is shown that this author had the command over different registers, fluctuating between a near perfect metropolitan Dutch and a Hollands that is classified as basilectal Afrikaans. The comparison of the data is set in a framework inspired by the concepts put forward in Generative Grammar. This has precipitated an exciting linguistic comparison of contemporary Afrikaans grammar with the diachronic material. This dissertation challenges the idea that the Khoesan Languages were of no or little influence in the development of Afrikaans. The linguistic analysis of the nineteenth-century data reveal that the developments which took place cannot be attributed to one single origin. It is demonstrated that the innovations and change that can be identified run parallel to regular patterns that are found in other languages generally classified as creole languages. It is argued that the syntax of the Khoesan languages is a major reinforcing factor in the development of the syntactic idiosyncrasies that are identified as un-Germanic characteristics of Afrikaans. Limited to nonstandard varieties of Afrikaans, in the concluding sections the question is raised how these findings are to be addressed in the larger context of language change.

South Africa is a diverse and multicultural country with too many more spoken indigenous languages. It is also one of the fastest developing countries on the African continent. This multilingual nature coupled with migration from neighbouring countries, presents serious challenges for language planners and education authorities, especially the impact on education. This study, therefore, explores the use of Translanguaging and how it has facilitated the teaching of African languages in multilingual classrooms at the Tshwane South Education District in Gauteng Province. The primary objective of the research happened to track the transitioning of dialect or variant development across different grades in these multilingual areas. The secondary aim was to observe and document language practices in these schools to provide a firm base for future language planning efforts in South Africa. The research was conducted in two schools: one primary school and one high school. The focus of the study was on the entry and final standards of the fundamental classes, the middle classes, the exit primary classes (standard 5), and entry classes (standard 6), up until the year of schooling (standard 10). The data were collected using interviews, questionnaires as well as observation. The data were subjected to thematic analysis to get an in-depth understanding as well as to identify and generate new insights into Translanguaging. Whereas many of the educators speak more than one language, many were not aware of their Translanguaging practices in teaching. The participating educators also affirmed that they have been using Translanguaging without realising it. Educators further indicated that raising awareness about their language practices facilitated their teaching because they felt at ease switching and mixing languages in their teaching. In addition to the positive outcome, some educators alluded to the fact that in some areas they were faced with language barriers. The study therefore recommends that in addition to raising awareness amongst educators, the Department of Education and the Fundza Lushaka Bursary scheme should assess the language repertoires of teachers before commencement of employment. The study further recommends that language policy makers and planners need to be mindful of the impact of multilingualism and migration on the education system.

1 Aim The aim of the research is to map out the theoretical construct of Kiba from practice. The analysis includes the mapping out of the metalanguage of the theory used by its practitioners. Therefore the research will map out a theory of Kiba not as a generic hypothetical theory of music and dance, but as a theory that describes actual performance. The research aims to achieve this not only through the description of what practitioners do in actual performance, but also through analysing the language behaviour and principles that govern the making of the performance discourse. The research will also look into the dynamic nature of culture and the challenges of ownership and rights that emerge. The analysis starts by tracing social practices and ethics that influence dance, drumming, music making, praise, and design of costume used in contemporary Kiba. It also looks at compositional structures, aesthetic elements, and principles governing the communicative competence of Kiba. The research presents the texts in Sepedi with English translations. It focuses on the description and analysis of principles governing the production and management of the discourse. Though the analysis focuses on the communicative function and value of Kiba, its main thrust is on principles that govern the making of the integral communication. The researcher uses mainly the performers' interpretation of the Kiba performance theory, as well as approaches to the analysis of cultural context of communication espoused by Hymes (1970) and Saville-Troike (1989). 2 Hypothesis If Kiba practice theory is not developed, then Kiba will not find access into the mainstream of Arts and Culture curricula at all levels of education. The chances of it competing successfully in economic markets of the Arts and Culture will not see the light of day. 3 Methods and procedures Kiba is a complex genre. The analysis of its performance discourse, that is, its dance-drama and praise-song of Kiba requires an interdisciplinary approach. This will be particularly useful in the analysis of the dance sequence structure with its dramatic effect, and of the principles governing the choices of repertoire and music elements. Barber (1989:13) supports this approach for the analysis of complex genres. She points out that: There is an obvious and very good reason for taking an interdisciplinary approach to African oral texts, and that is that the texts themselves can combine 'literature', 'history', 'music', 'religion' and other things. The unity of these fields within oral texts suggests that the method of interpretation should also be unified. Rather than collaboration between specialists from different disciplines, what is needed is the reintegration of an artificially divided field. It is crucial to state from the outset that the research does not perceive Kiba as music or art, but as a way of lived communication and it echoes the observation made by Agawu (2002: 452) that: ... in many African languages, there is no single word for 'music' that the term is semantically dispersed across many fields often indexing dancing or movement as well as the actual sound produced. However, since the overall vehicle of a Kiba performance is presented in songdance, the research will trace the 'musical' and not the 'music' elements of Kiba. Nevertheless it does make a conscious effort to strike a balance between the musical, literary, dance, and the philosophical. iii In Sepedi as well as the broad Sotho languages, the word for music is 'mmino'. This refers to both song and dance. This concept will be represented in the research as 'song-dance'. Therefore, a multidisciplinary approach to the study of Kiba will prove to be more useful than an approach to music or just dance elements of Kiba. An analysis of the co-operative principles that underpin the Kiba discourse, and the cultural and compositional elements of Kiba will form part of the interdisciplinary approach to the study of Kiba. The research will also use elements of sociolinguistics, cantometrics, ethnomethodology and ethnomusicology to analyse Kiba discourse. iv 4 Procedures: focus areas of the research The entire inquiry obtained data from participants through unstructured interviews and observation of the language behaviour of Kiba interlocutors. Observation and interviews were carried out in ten villages. The basic questions and the researcher's observation of live performance of Kiba focused on the three main areas of the research: compositional structure, aesthetic elements, and principles governing the actual performance. The latter refers to the norms and standards of interaction in, and interpretation of, Kiba discourse. The basic questions that are asked are: Definition of Kiba □ Kiba ke eng?I What is Kiba? ✓ A Kiba ke ya banna goba ke ya basadi?l ls Kiba a male or female genre? ✓ A Kiba ke ya baswa goba ke ya batho ba bagolo? /Is Kiba a youth or adult genre? Compositional and aesthetic elements: □ Ge le bina Kiba le dira eng? I What are the structural elements of Kiba? □ Mekgwa ya go natefisa kosa ke efe? /What are the ways of embellishing a song? □ Diletso tse di diriswago mo Kibeng ke dife? I What resources are used in the Kiba communication system? Which principles govern actual performance communication? Examine the following: □ Poledisano le kgolagano ya kosa magareng a malokwane le sehlopha, le magareng ga sehlopha le babogedi goba setshaba? I The discourse structure of the Kiba intra-communication system: analysis of the intercommunication strategies between the Kiba participants as addressers and an individual or a community as addressee(s). V □ A Kiba ke ya Bapedi goba ke Sepedi? Is Kiba a genre of the Bapedi or is it Sepedi? Translated texts appear beneath the original texts. Original texts appear in italics, while translations are typed in normal font as Mason (interview: Washington DC, June 1997) advises. Vernacular names and words are used and explained in context. Single word expressions and exclamations have been retained and their explanations are given in square brackets. A glossary of terms has been provided at the end of the thesis. 5 Abbreviated thesis Accompanying the research is an audio-visual presentation that shows the · prototype of an integral and fully expanded discourse of Kiba. The video is intended to help the reader and viewer to understand performance nuances of dance, drumming, voice technique, and the use of colour. The audiovisual excerpt of an exemplary performance of Kiba is provided as annexure 4. The latter is an authentic text that shows a royal ensemble, led by Chief Ramokgopa during his official visit to the royal capital of Moletsi on 1 January 1999. The excerpt shows every aspect of Kiba raised by the research. vi There are also accompanying compact discs, which reveal the conscious attempt to further develop Kiba into a modern competitive format called FreeKiba. (See the copies of the themes presented in annexure I, and the two CDs that are provided as part of annexure 4). Agawu (2002:47) perceives this kind of an adaptation as progressive in that it is premised on the agenda of the emancipation of African music. He puts it succinctly: The emancipation of African music begins precisely at the point where our priorities shift from valuing present realities to constructing future possibilities. This view is also held by Nzewi (1980, 1983). 6 Conclusion The research will use ethnomusicology to analyse participants' use of song, dance, drama, drumming and praise-singing as integral constituents of Kiba. To analyse the Kiba discourse structure, the research will use the 'ethnography of communication method. The method is useful in the analysis principles governing the appropriateness of lived communication (Hymes 1964). It also requires principles of ethnomethodology to be used to 'discover what methods [Kiba] practitioners use to participate in and make sense of interactions of their

This study compares the syntax of nineteenth-century Orange River Afrikaans with Dutch and synchronic Afrikaans varieties, with particular attention to Griqua Afrikaans. It provides an account of the differences that are found between the earliest attestations of an extraterritorial variety of the Dutch language on southern African soil (the so-called Cape Dutch Vernacular) with the present-day outcome. The data collected for this study originate chiefly from an hitherto undisclosed corpus of letters kept in the Namibian State Archives by the so-called Oorlam-Nama, people of mixed descent who lived on the periphery of the nineteenth- century Cape colonial society. This thesis argues that nineteenth-century Orange River Afrikaans is a representative continuation of the earliest developments in the linguistic contact situation that existed at the Cape. The thesis advances that literacy and social class are important factors in the assessment of the written record from the Dutch colony at the Cape. The thesis centers around the letters by one author, Jan Jonker Afrikaner, written over a period of nearly twenty years in the second half of the nineteenth century. This legacy is a unique contribution to the diachronic data concerning the development of Afrikaans. From the data it is shown that this author had the command over different registers, fluctuating between a near perfect metropolitan Dutch and a Hollands that is classified as basilectal Afrikaans. The comparison of the data is set in a framework inspired by the concepts put forward in Generative Grammar. This has precipitated an exciting linguistic comparison of contemporary Afrikaans grammar with the diachronic material. This dissertation challenges the idea that the Khoesan Languages were of no or little influence in the development of Afrikaans. The linguistic analysis of the nineteenth-century data reveal that the developments which took place cannot be attributed to one single origin. It is demonstrated that the innovations and change that can be identified run parallel to regular patterns that are found in other languages generally classified as creole languages. It is argued that the syntax of the Khoesan languages is a major reinforcing factor in the development of the syntactic idiosyncrasies that are identified as un-Germanic characteristics of Afrikaans. Limited to nonstandard varieties of Afrikaans, in the concluding sections the question is raised how these findings are to be addressed in the larger context of language change.

Thesis (MA (African Languages))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This study investigates how women are portrayed in selected published poems. Chapter One, is the introduction to the study. The aim, the scope and the analytical approach are presented in this chapter. Chapter Two deals with literature review of theories and techniques to be employed in analyzing these selected poets. In Chapter Three the selected poems are analysed using the theories discussed in chapter two. Chapter Four deals with the comparisons, similarities and differences in the characterization of women by poets. Chapter Five deals with findings, recommendations and conclusion. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die manier waarop vroue in ’n seleksie gepubliseerde gedigte uitgebeeld word. Hoofstuk 1 is die inleiding tot die studie, en sit die oogmerk, omvang en analitiese benadering uiteen. Hoofstuk 2 handel oor literatuur wat die teorieë en tegnieke beoordeel wat ingespan gaan word om hierdie seleksie gedigte te analiseer. In hoofstuk 3 word die seleksie gedigte geanaliseer aan die hand van die teorieë wat in hoofstuk 2 bespreek is. Hoofstuk 4 handel oor vergelykings, die ooreenkomste en die verskille tussen die maniere waarop digters vroue karakteriseer. Hoofstuk 5 bevat bevindings, aanbevelings en ’n slotsom.

Thesis (D. Litt. et Phil.)--University of South Africa, 2003. / Title from PDF title page (viewed on May 1, 2006). Includes bibliographical references (p. 330-346).

No description available.

M.A., Faculty of Arts, University of the Witwatersrand, 1996

In 2012, Tanzania, the prevalence of HIV infection among Tanzanian women was 6.3%; that same year, 18% of Tanzanian children were born already infected with HIV. The purpose of this study was to determine the importance of prenatal care attendance on comprehensive knowledge of HIV mother-to-child transmission (MTCT), and HIV testing and counseling, as well as awareness of HIV testing coverage services, in Tanzania. The study population was Tanzanian women of childbearing, aged 15 to 49 years old. Guided by the health belief model, this cross-sectional survey design used secondary data from the 2011-2012 Tanzania Demographic Health Survey. Independent variables were comprehensive knowledge of HIV MTCT, HIV testing and counseling, and awareness of HIV testing coverage services; the dependent variable was prenatal care visit (PNCV) attendance. Findings showed that 69% of women had their first PNCV in the second trimester, meaning that they attended less than 4 visits. Multinomial logistic regression modeling assessed the association between independent variables and PNCV attendance after controlling for sociodemographic factors. Findings denoted that comprehensive knowledge of HIV MTCT after controlling for married vs. never married, maternal age, and wealth was associated with PNVC. HIV testing and post counseling, and awareness of HIV testing coverage services were also significant for women who attended their first prenatal visit in the 2nd trimester. These findings have positive social change implications by informing efforts to identify at-risk pregnant women through systematic HIV testing and counseling for early medical intervention; such efforts may reduce MTCT and encourage them to start their PNCV in the first trimester.

Thesis (M.A.(African languages)) --University of Limpopo, 2009. / Tshipikwa tsha ngudo iyi ho vha u sedzulusa zwine vhalala vha nga thusa ngazwo kha u kona u tandulula thaidzo dzine ra vha nadzo ano maḓuvha. Ri tshi sedza miṱa i khou pwashea ḓuvha ḽiṅwe na ḽiṅwe nga ṅwambo wa u shaya ngeletshedzo dza vhalala nga maanḓa vha vhushaka ha malofha. Zwo vhonala kha ino ngudo uri vhaṅwe vhaṅwali na vhasengulusi vho vhona zwi zwa ndeme u kona u ṱalutshedza ndeme ya vhalala na zwine vha eletshedza. U shumiswa ha theminolodzhi ya vhushaka ha malofha zwo kona u vhonala uri nga ngoho, ya swika hune ya tevhelwa na u ṱhonifhiwa zwi ḓo ita uri ḽi kone u lala miṱani yashu. Nga u nyadza ngeletshedzo dzi bvaho kha vhalala zwo sumbedzwa kha ino ngudo uri vhathu vha nga dzula vha tshi vhaisala vhutshiloni havho. Zwenezwo theminolodzhi ya vhushaka ha malofha ndi zwa ndeme uri i ṱhonifhiwe ngauri i ṋea tshirunzi miṱa na uri miṱa ya sa kwashekane na u fhalala.