The study addresses the problem, already identified in 1986 by Msimang that definitions such as Bascom's (1965) fail to differentiate clearly between historical narratives and legends. To evolve a more accurate definition, this study considers two Sepedi dramas: Make's Sello sa Tonki le Pere and Moloma's Marangrang (1972). The qualitative approaches (explain, interpret and compare) used in this study show that legends and historical dramas/narratives can be investigated by comparing them to identify differences between these genres. A narratological model suggested by Marggraff (1994) is used, considering three strata (layers) of a text: content, plot and style of writing. The topic, theme and atmosphere are explored, in that order, in the selected texts. The analysis suggests that the differences between a legend and a historical drama/novel arise from two elements: characters and their actions. In a legend, there are three important pillars: the exposition, the body and the conclusion. The exposition of a legend has five formulaic features: Kgalekgale [long, long ago ], Keleketla [Give us more!], E rile e le nonwane [It is a tale ], and a reference to the narrator (Nonwanenonwane!) and the listeners (Keleketla!). Some sentences/phrases are repeated slightly or without a reply. The action ends with a concluding formula: Se seo sa mosela seripa! [That is the end of the tale]. The action focuses on a main character, and there may be some repetition of actions (a cycle). The time technique may be used. There is often symbolism. Other features include a song (repeated several times), which brings pleasure and/or pride, and sometimes sorrow. A song may play a role bigger than the narrative. The presence of these factors suggests a legend rather than a historical narrative. The investigation shows that Make does not follow these rules for a legend, but elides actions he thinks the audience/reader already knows, inviting the audience/reader to participate in the narration. That implies that both the narrator and the audience know the 'rules' of a legend Make seems aware that the exposition and conclusion of a legend are based on the use of repetition of formula (a clause, sentence or sentence cluster). In legends, the characters tend to be flat (not rounded) they are interpreted focusing on one idea only (using a phrase or short sentence), which is not a complete depiction of the character. Often the author exaggerates to create humour. This study confirms that flat characters are typical of legends, adding to the artistic structure of this genre. Make successfully uses three techniques (the cycle and journey techniques, and symbolism) in constructing Sello sa Tonki le Pere. A cycle is visible in the repetition of the prosecution of Tonki and Pere to illuminate their case, strengthening and simplifying the sentencing of those animals. Make compares life to a linear journey with a beginning (birth) and a conclusion (death). The phases of the journey symbolise stages of a human life. Make used animals as symbolic characters in this drama to represent real people. Tonki and Pere represent criminals. Kgomo and Nku fight for justice for those mistakenly judged guilty of witchcraft, and they represent the accused. Tau's household represents the capital (Judgement), while Kubu's household represents medicine. A legend should end with a concluding formula: 'Mpho se seo sa mosela seripa!', showing readers/listeners that they can relax, as the narration/fable has come to an end. Make does not use this formula, but ends his fable with 'Pula! Pula! Pula!!'. To explore the structure of a historical drama/narrative, Maloma's drama Marangrang was considered, focusing on the exposition, development, climax and denouement of the drama. In the exposition of Marangrang conflict between Mapulana's children Lethoke, T iane and Madikgake (Mokone of Ma a) who argue over traditional healing (and bravery). This plot suggests the presence of the shadow technique (a shadow focuses on the actions of a character which are similar to actions of another character to be introduced later in the play) (Mojalefa, 1997:35). As a traditional healer Lethoke is a shadow for Marangrang; he stands for Marangrang's actions. By contrast, Madikgake stands for all the tribes. This foreshadows conflict between Marangrang and the Bakgatla, Ma abela, Magolego, Mphahlele tribes. This conflict appeals to the audience/readers, who want to unravel these issues/themes. / Dissertation (MA)--University of Pretoria, 2016. / African Languages / MA / Unrestricted

This study attempts to define more clearly the concepts 'flat character' and 'round character' by examining instances of Sepedi literature. Definitions provided by theorists are in most cases vague and may lead to unsatisfactory interpretations. The best examples in this instance are the definitions provided by Forster - they create problems particularly with references to the concept 'round character'. Forster's definition creates the impression that the difference can be based on the manner of characterization. In this investigation, attention is thus paid to characterization, while it is pointed out that these concepts are not to be confused with the concepts 'antagonist', 'protagonist' and 'tritagonist'. The latter types of characters are classified as structural elements while the former are thematically important. The Sepedi literary works chosen for the purposes of this study represent the four most important prose genres in Sepedi. Tsebe's Noto-ya- Masogana ( 1954) is the representative of the category 'love story'; Kekana's Nnete Fela (1989) is a detective story; Rammala's Lukas Motsheletshele (1963) and Mphahlele's Letsogo Ia Molao (1984) are tragic narratives , while Phatudi concentrates on and describes elements of pathos in his Tladi wa Dikgati (1971 ). The characters in Tsebe and Kekana's narratives are flat. Whereas Tsebe's Lesibana is portrayed as a multidimensional character, Ariel in Kekana's detective story is presented as one - dimensional. According to the definitions of Forster, Lesibana could be classified as a round character and Ariel as a flat character. The problem that surfaces in this instance also becomes manifest in the investigation into Rammala, Mphahlele and Phatudi's works. Rammala's Lukas Motsheletshele and Mphahlele's Faro are multidimensional characters as opposed to Phatudi's Tladi who is onedimensional, yet all of them are round characters. The distinction that can be drawn between the concepts 'flat character' and 'round character' has to do with humaneness. The reader's identification with the flat charater is based on the reader's ability to distinguish between good and evil, while an understanding of and a feeling for fellow human beings determine identification with the round character. The author brings about this identification process by using a variety of literary devices. In this thesis, a great deal of emphasis is placed on the theme of each of the mentioned works and on how this theme determines the character types. The concept of 'identification' is a central issue in this study and has thus been explained in detail. The specific literary devices used by the author to bring about this identification have thus also been carefully investigated and discussed. It was discovered that characterization as such does not determine whether characters are flat or round; instead, this is determined thematically. / Thesis (PhD)--University of Pretoria, 2002. / gm2014 / African Languages / unrestricted

In this thesis, an attempt is made to divide the Sepedi love story as 'light' reading matter into different subgenres. In order to do this, a distinction has to be made between 'light' and 'serious' reading matter. In short, this distinction amounts to the following: -- The love story as 'light' reading matter deals with problems of love that are resolved and the story ends on a happy mate. The conflict is between 'good' and 'bad' and the characters are portrayed accordingly and are hence flat characters. There is more emphasis on action than on characterisation. Suspense is built up by a series of problems that prevent the lovers from meeting each other. The problems are gradually resolved and the story has a happy ending. -- The love story as 'serious' reading literature emphasises problems in life rather than problems of love. The characters are portrayed fully in their exposure to the storm and stress of life. The love affair being depicted is headed for disappointment, and the ending is often tragic. In Sepedi literature, the love story as 'light' reading matter (or entertainment literature) is divided into five subgenres, i.e. the love story as (a) a moral story, (b) a subdivision of the detective story, the romantic mystery of Ramsdell (1999), (c) the ethnic or multicultural romantic story, (d) the historical love story, and (e) the true love story. In the love story as a moral story, there is a strong focus on the loyalty of the lovers. Where there is infidelity, the good relationship can only be restored if the guilty one received his punishment. Example of this are Noto-ya-Masogana (Tsebe, 1954), Morweši (Motuku, 1969), Tshehlana ya ka (Bosoma, 1990) and Sesasedi sa katlego (Kekana, 1990). In the love story as a subdivision of the detective story, the intrigue (of love) is used to intensify the secret in the detective story. Kekana's Nonyana ya Tokologo (1985) and Nnete Fela (1989) are two suitable examples in which the attitude of the heroine prevents a quick unravelling of the problem. In the ethnic or multicultural love story, the happy ending is delayed by the fact that the lovers do not belong to the same ethnic or cultural group and because the love affair is under social and cultural pressure. Megokgo ya Lethabo (1992) is an example of such a story in which the lovers are a Mopedi and a Motsonga respectively, and the young man's family was not at all in favour of the relationship. In the historical love affair, the conflict in the story is intensified by the difference between the traditional and the present-day outlook on life. This subgenre differs from the previous one in that the conflict originates within the same ethnic or cultural group and in that it is the result of the changes that have, amongst other things, been brought about by urbanisation. An example of this subgenre is Rafapa' s Leratosello (1978). The true love story shares many of its characteristics with the love story as a moral story, as the conflict is also between 'good' and 'bad' characters. In this subgenre there is, however, no place for peace; the 'good' is not used to emphasise the moral. Examples of this are Leratorato (Motuku, 1977), Lerato (Ramokgopa, 1978) and Le Lerato (Moloisie, 1986). / Thesis (DLitt (African Languages))--University of Pretoria, 2006. / African Languages / unrestricted