Tamthilia ya Kiswahili imedhihirisha, kwa njia moja au nyingine, uhusiano wa kimwingilianomatini. Makala haya yanadhamiria kuchunguza viwango na aina za mwingilianomatini baina ya tamthilia mbili za Kiswahili. Tamthilia hizi ni Mashetani (Hussein 1971) na Kijiba cha Moyo (Arege 2009). Tathmini hii inaongozwa na nadharia ya mwingilanomatini. Tumeteua na kuhakiki tamthilia hizi kwa misingi kwamba, kwa muda mrefu, Ebrahim Hussein ameaminika kuwa mmojawapo wa watunzi bora wa tamthilia ya Kiswahili katika eneo la Afrika Mashariki. Wahakiki wa fasihi wanaelekea kukubalia na kwamba Ebrahim Hussein ameathiri watunzi wengi wa baadaye wa tamthilia kimtindo, kimaudhui na usawiri wahusika. Lengo la makala haya ni kujaribu kuonesha jinsi tamthilia za Mashetani na Kijiba cha Moyo zinavyofanana kwa kuchunguza viwango vya mwingilianomatini baina ya tamthilia hizo kwa kurejelea, motifu, maudhui, matumizi ya lugha, na wahusika. Je, ni kwa kiwango gani mtunzi wa Kijiba cha Moyo ameathiriwa na mtunzi wa Mashetani? Je, amemnukuu, kudondoa au kumwiga mtangulizi wake kwa kiwango gani?

Review

This paper applies a post-structuralist literary framework when looking at the philosophical implications of William’s Mkufya’s novel Ziraili na Zirani. The analysis focuses on a free-verse poem per-formed by a black bird in hell. Moreover, there is a focus on the different genre forms at play, such as free-verse poetry and the novel, and an acknowledgement that an understanding of the text relies upon a consideration of these different genre conventions. Ultimately the paper shows how a reading of the text as it is presented in the novel, as a performance, demonstrates a realisation of the different genre conventions at play, thus taking their significance onto a different plain of analysis. Furthermore, attention is drawn to the application of a post-structuralist framework and the various contributions this theoretical model can make to a reading of the poem, notably an emphasis on the resistance to fixed meaning in favour of instability. This results in an exposition of the relevance of a post-structuralist literary framework to Mkufya’s critical reflection upon epistemology as it is portrayed in the black bird’s enigmatic performance, and the novel as a whole.

Nagona na Mzingile, riwaya za mwandishi wa Kiswahili Euphrase Kezilahabi, zinasemekana kuwa na mtindo wa kipekee wa usimuliaji, na simulizi changamano ambalo si rahisi kueleweka. Makala haya yamezichukulia riwaya hizo mbili kama hadithi moja, na kuchunguza muundo wa fumbo unaosababisha upekee wa riwaya hizo. Muundo huo utafunuliwa kuwa ni duara inayorudia uhai na ufu. Nitajaribu kuelewa muundo huo wa duara kutumia fikra ya mwanafalsafa wa dini, Mircea Eliade, na dini ya Ubudha. / Nagona and Mzingile, written by a Swahili author Euphrase Kezilahabi, have been considered to have the unique narrative style and complex storyline, which make the novels difficult to understand. This article regards these two novels as a single inner-connected story to reveal a hidden structure, which makes the novels unique. This structure turns out to be a cycle which regularly repeats birth and death. I will try to analyse this circular structure by using thoughts of a theologian Mircea Eliade and Buddhism.

Hiponimia ni uhusiano wa kifahiwa unaodhihirika baina ya leksimu ya jumla (hipanimu) na mahususi (hiponimu). Kama vile hipanimu mzazi hujumuisha hiponimu baba na mama. Uhusiano huu wa kihiponimia ulidhukuriwa na wanaisimu wa awali kuwa unahusisha leksimu nomino pekee. Hata hivyo, tafiti za hivi punde zinadhihirisha kuwa hiponimia huweza kudhihirika pia miongoni mwa kategoria za vivumishi, vielezi na vitenzi. Ingawa kuna midhihiriko ya hiponimia za vitenzi vya Kiswahili, wataalamu kadha wameelekea kushughulikia hiponimia za nomino na kutotilia maanani vitenzi. Hivyo basi, makala hii imechanganua uhusiano wa kihiponimia unaodhihirika miongoni mwa vitenzi teule vya Kiswahili. Katika kushughulikia suala hili, hipanimu vitenzi 24 kutoka kamusi za Kiswahili zimeteuli¬wa kimakusudi na hiponimu husika kutolewa. Nadharia ya Uchanganuzi Vijenzi kwa mujibu wa Katz na Fodor imezingatiwa katika uchanganuzi wa hiponimia hizi. Katika nadharia hii, sifa bainifu za hiponimu husika huonyeshwa kwa kutumia alama maalum za [+, -]. Data kuhusu hiponimia za vitenzi ilipekuliwa kutoka kamusi za Kiswahili kwa kuzingatia mwelekeo wa kiishara au kisintaksia kwa mujibu wa Hearst, na Snow na wenzake ili kuweza kutambua hipanimu na hiponimu husika katika sentensi. Hiponimia hizi zimechanganuliwa na kuwasilishwa kwa mtindo wa nadharia ya seti. / Hyponymy is a sense relation existing between general lexemes (hypernym) and the specific ones (hyponym). For instance, a hypernym parent includes hyponyms like father and mother. The hyponymy relation was regarded by earlier linguists that it could exist only amongst nouns. However, recent studies indicate that hyponymy can also be manifested in other categories such as adjectives, adverbs and verbs. Though there is hyponymy relation existing amongst Kiswahili verbs, various scho¬lars have tended to focus on nominal hyponymy and disregard verbal hyponymy. Therefore, this article has analyzed the hyponymy relation existing amongst selected Kiswahili verbs. In this regard, 24 verbal hypernyms from Kiswahili dictionaries were purposively sampled and their specific hyponyms indicated. Componential Analysis theory by Katz and Fodor has been used in the analysis of these hyponyms. The theory focuses on distinctive features of specific hyponyms that are normally shown by the use of specific signs [+, -]. The data on verbal hyponymy was observed from the Kiswahili dictionaries by the application of symbolic or syntactic approach propounded by Hearst, and Snow et al in order to identify the hypernyms and specific hyponyms in a sentence. These hyponymy relations are analyzed and presented using the set theory style.

Wir haben uns in der Afrikanistik bislang vor allem mit der Sprache im engeren Sinn beschaftigt, weniger mit dem Sprecher und mit dem, was Jespersen (1924:313) eine `bestimmte Geisteshaltung des Sprechers bezogen auf den Inhalt des Satzes` nannte In den folgenden Uberlegungen beschiiftige ich mich in diesem Sinne mit Sprechereinstellungen in konkreten Kontexten und dem was aus bestimmten Ausserungen fur zwischenmenschliche Beziehungen intrakultureller und vor allem interkultureller Art folgt Solche Ansatze haben heutzutage einen etwas modischen Charakter Wenn wir allerdings die zunehmende Aggressivitat in alien Bereichen der Kommunikation bedenken, bekommen sie doch eine besondere Relevanz.

This paper will offer some arguments to demonstrate that the second type of linguistic relativity becomes a crucial element in all types of intercultural (comparative or merely descriptive) discourse analysis, because of the existence of what I have called elsewhere internationalized genres such as written literature, journalism, scientific discourse, and political discourse (see Blommaert 1990, 1991) This point will be illustrated by refening to Tanzanian Swahili political rhetoric

Book Review of Ernst Dammann, Afrikanische Handschriften, Teil 1 - Handschriften in Swahili und anderen Sprachen Afrikas

Lugha ni nyenzo muhimu katika mchakato wa mawasiliano, hali inayoifanya nyenzo hii kuweza kuchanganuliwa kwa njia mbalimbali. Katika jitihada za kuichunguza na kuichanganua lugha, imebainika kwamba kuna uhusiano wa ufaano kati ya miundo ya lugha na dhima yake. Huu ndio uhusiano ambao hutumiwa na wasanii kifasihi kuunganisha mifumo ya lugha inayotumika katika matini na kuafikia ruwaza zao. Hali hii inatokana na uwezo wa kufulikana kwa lugha kama chombo cha mawasiliano ambao pia unaipa lugha uwezo wa kusukwa tofauti kwa mujibu wa dhima tofauti na hivyo basi kuendeleza grafolojia. Grafolojia ni mojawapo ya viwango vya uchanganuzi wa kiisimu kimtindo. Hata hivyo, umuhimu na nafasi ya grafolojia kama kiwango cha uchanganuzi wa matini hudhihirika katika umitindo na mbinu mseto. Kwa hali hiyo, watalaam wengi wakiwemo Halliday, McIntosh na Strevens (1964) wamefanya utafiti kuhusu jinsi mchepuko wa kigrafolojia unavyoathiri ufasiri kimaana na kuzalisha athari zingine za kiujumi katika matini. Miongoni mwa vipengele vya kigrafolojia ambavyo wamevitaja kwamba vinaibua athari tofauti katika matini ni viakifishi. Ingawa uandishi wowote, uwe wa jadi au wa leo unahitaji kuzingatia matumizi mema ya viakifishi, hivi leo kumeshuhudiwa ukiukaji wa matumizi ya vipengele hivi katika shughuli za kijamii. Ni kwa ajili hii ndiposa makala haya yameandaliwa yakilenga kuchanganua aina mbalimbali za viakifishi, herufi kubwa na mchango wa alama hizi katika uimarishaji wa mawasiliano katika lugha ya Kiswahili. Aidha makala haya yametayarishwa kwa kuchanganua yaliyomo katika riwaya ya kisasa ya Mkamandume (2013) huku nadharia ya Sarufi Amilifu Mfumo (SAM) iliyoasisiwa na Halliday ikiongoza utafiti huu. / Language is an important tool in communication. In an effort to explore and analyze language, it has been observed that there is a correlation between language structures and stylistic choices. Also used by literary artists who integrate these principles of in their text, graphology is one of the standards of linguistic analysis in style. However, its importance and place as a standard for textual analysis is manifested in a variety of styles and techniques. In this context, many scholars including Halliday, McIntosh and Stevens (1964) have done research on how grammatical “abnormalities' affect interpretation and produce other metaphorical effects in texts. This article aims at analyzing the different types of signs and conventions, abbreviations, practices of capitalization and the contribution of these symbols in strengthening communication in Swahili. In addition, this article uses the content of the novel Mkamandume (2013) and refers back to the basics of 'Sarufi Amilifu Mfumo' (SAM) developed by Halliday.

This paper analyses signs of ill-omen in the selected literary Swahili prose of Euphrase Kezilahabi published between 1971-1991. We interrogate their indicative interpretation as foregrounded by the author. We shall specifically concentrate on how he artistically exploits the entrenched ill-omen belief system of his society to drive his themes and artistic techniques. Though critics have analysed some elements of literary symbolism in the works of Euphrase Kezilahabi, this paper, in particular, concentrates on the exploration of signs of ill-omen scattered in several of his prose works.