Call number: LD2668 .T4 1949 B56 / Master of Science

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M.A. / Since 1983 there has been a revival in the publication of one-act plays in Zulu. The study attempts to examine a new aspect, namely theme, in one-act plays. In order to highlight the thematic shift in one-act plays, the themes in full-length plays are examined and a comparison is then made to see how the themes in one-act plays differ from these. The study is based on certain aspects of the theory of Semiotics and works with concepts proposed by Pfister (1988) namely: a) A-perspectival structure b) Open perspective structure c) Closed perspective structure There seems to be a change in what dramatists are focusing on in their plays. This change is discussed and it is established to what extent the shift has occurred.

PhD (African Studies) / Lomsebenti ucwaninga ngekusetjentiswa kwetinongo tenkhulumo etinkondlweni teSiswati. Lolucwaningo lubuka kutsi tinongo tenkhulumo tibaluleke ngani nekutsi kufanele kutsi ekukhulumeni kwetfu kwemihla nemihla sifake tinongo tenkhulumo. Tinongo tenkhulumo betikhona mandvulo imfundvo isengakafiki ebantfwini. Imfundvo ifika itfola kutsi emaSwati angemagagu ekukhulumeni futsi anelulwimi lolunotsile ngenca yetinongo tenkhulumo. SEHLUKO SEKUCALA: Setfula lucwaningo kutsi lumayelana nani nekutsi yini umcwaningi lafuna kuyilungisa leseyonakele. Kuniketwe tinhloso telucwaningo. Kubuye kwaniketwa umkhawulo welucwaningo nekubaluleka kwelucwaningo, kubuye kwavetwa umgudvu welucwaningo lokuluhlelolwati lwenhlelembiso neluhlelolwati lwemsebenti. Kubuye kwavetwa kuchazwa kwemagama, kubaluleka kwetinkondlo, tinongo tenkhulumo nebudlelwano bato naleminye imibhalo, umlandvo lomfisha ngetinkondlo kanye nesiphetfo. SEHLUKO SESIBILI: Sibuke kuhlolisisa imibhalo, kwabukwa libhayibheli, tincwadzi telucwaningo, nemajenali. Kubukwe netinhlobo tetinkondlo letisetjentiswa eSiswatini. SEHLUKO SESITSATFU: Sibuke tinhlobo tetinongo tenkhulumo tehlukaniswa ngalendlela: Tinongo tenkhulumo letifanisako nguleti letilandzelako: sifaniso, sifanisongco, simuntfutiso, silwanatiso kanye nakhulumango/umbiti. Tinongo tenkhulumo letihhlukanisako nguleti letilandzelako: silutfo, sicatsaniso, siphukuto kanye neluteku Tinongo tenkhulumo letigcamisa budlelwano nguleti letilandzelako: Sihabiso, simeli/simeleli, siphindzaciniso/imphindzaciniso, silandzakhashane/malandzakhashane nesihloniphiso. iv    SEHLUKO SESINE: Sibuke tinongo tenkhulumo ngaloluhlobo: Siphindzamagama, siphindzamisho, secamagama, sifanagwaca,sifanankhamisa nesentakutsi. SEHLUKO SESIHLANU: Sisongela ndzawonye lonkhe lucwaningo, sibuye siphawule ngaloko lokutfolakele elucwaningweni, tincomo sigcine ngesiphetfo.

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A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the criteria for the c[egree of Master of Arts / The literature produced by writers who align themselves with national liberation and resistance movements presents a serious challenge to dominant standards of literary . aesthetics. Resistance writing aims to break down the assumed division between art and politics. and in this view literature becomes an arena of conflict and struggle. This dissertation examines certain aspects of the poetry of Mongane Wally Serote in order to explore the relationship between aesthetics and resistance in his writing. Over the last two decades, Serote has made a significant contribution to the development of South African literature, and his work has important implications for literary criticism in South Africa. Chapter 1 looks at some of these implications by discussing the concept of resistance literature and the main issues arising from the debates and polemics surrounding the work of Serote and other black political writers. Perhaps the most important here is the need to construct a critical approach to South African resistance literature that can come to terms with both its aesthetic qualities and political effects. This kind of approach would in some way attempt to integrate the seemingly incompatible critical practices of idealism and materialism. Accordingly, Chapter 2 is a materialist approach to aspects of Serote's early poetry. The critical model used is a simplified version of the interpretive schema set out by Fredric Jameson in The Political Unconscious. This model enables a discussion of the poetry in relation to ideology, and also suggests ways of examining the discursive strategies and symbolic processes in this particular phase of Serote's development. Serote's later work is 'characterised by the attempt to create a unifying mythology of resistance. Chapter 3 thus looks at Serote's long poems from an idealist perspective that is based on the principles of myth-criticism, As this is a complex area, this chapter merely sketches the main features of Serote' s use of myth as a form of resistance, and then suggests further avenues of exploration along these lines. The dissertation concludes by pointing towards some of the implications of recent political developments in South Africa for Serote and other resistance writers. / Andrew Chakane 2018

M.A. / In this dissertation an examination is made of the different strands of contemporary South African protest and resistance poetry. This is done by way of analysing selected poems to highlight the relationship which exists between politics and aesthetics and to illustrate that the two concepts are not mutually exclusive. A brief history of written African protest and resistance poetry is provided in an attempt to put this poetry within its historical context and to trace its influences and development. The poems are then examined with the express aim of identifying and understanding their themes and the socio-political contexts from which they emanate. These contexts are then shown to have important implications in so far as the aesthetics of protest and resistance poetry is concerned. The dissertation highlights the fact that for this poetry to be fully appreciated, there is a need to recognize the particular circumstances which surround it. This recognition is essential because these circumstances are instrumental in the shaping of the poetry and the formation of an aesthetics of protest and resistance. An examination of whether this type of poetry has any socio-political relevance and literary significance to contemporary South Africa is made.

Thesis (M.A. (African Languages)), 2014

This thesis clarifies some issues at the forefront of Multicultural education from an anti-racist perspective. The researcher is concerned that, while school boards across the country allegedly promote an education wherein the perspectives of all Canadian cultural groups are included—a goal that reflects promises of both the Charter of Rights and Freedoms and the policy of Multiculturalism—differences persist between what is intended by policy makers and what perspectives are actually included in the curriculum. These contradictions between intentions and conduct are explored by exarmning the effects of Multicultural ideology on the discursive borders of Canadian education. These ideas are then related to the specific example of African Canadian history. Past and present contradictions between Canadian policies and practices toward African Canadians are scrutinized. The issue of African Canadian exclusion from the Canadian Literary Canon is emphasized and this problem is related through a discussion of the Canadian publishing industry. The writer argues that different kinds of opportunities are required that help learners explore the subject of racism on an emotional level, develop in-depth understandings about African Canadian history and cultures, and give learners opportunities to listen to African Canadian perspectives. The idea that African Canadian literature could be utilised by educators is suggested as a way to start establishing a basis for education where African Canadian perspectives are represented on equal terms. Pedagogical problems that might arise with the introduction of these stories into the curriculum are addressed. The writer argues that Canadian education developed out of a context of oppression. Postmodern research paradigms are suggested as a way to explore these issues. Following on the diverse writing styles that are used in postmodern inquiries, an excerpt from a play by the writer is included. Both the play and the discussion intentionally disrupt the suggestion of a self-Other dichotomy that is sometimes present in education and research. The writer explores this territory and ultimately suggests the possibility of negotiating relationships that are not defined by oppression, but that acknowledge the pain that oppression causes.