Thesis (Ph. D.)--Harvard University, 1976. / Includes bibliographical references.

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D.Litt. et Phil. / Approaches to folklore/oral forms have evolved from an interest in things (texts are included here) to an interest in process, of which performance studies is a prime example. A performance orientation seeks to restore an activity (or a text as part of an activity) to its proper place - not as an extracted, reified entity, but as discourse created by performers in particular circumstances. These circumstances, or context, are detail-rich and have influences on a text, and, in turn, a text is a detail that influences other aspects of the total performance. These theoretical issues are dealt with in chapter I. Ndebele praise poetry manifests itself in many situations as it forms part of a larger oral culture, as can be seen in many regular and ad hoc Ndebele ceremonies. The extent of the oral culture is illustrated in chapter 2. Gunner and Gwala (1991: 7) have remarked that praise poetry 'has been and still is extremely open to appropriation by those who had or wished to have access to political power and influence'. This was particularly evident in the way praise poetry was performed during 1988 at political campaigns. This year was part of the period of political unrest in Ndebele history which started in 1985 when central government announced that Moutse would be incorporated into the former Kw'aNdebele and that KwaNdebele would become independent on 11 December 1986. At the 6 political meetings, during which the anti-independent royalists campaigned against independence, praise poetry was utilised extensively. This background is dealt with in chapter 3. At these meetings praise poetry functioned not only to amuse the crowd, but to introduce speakers, underscore their legitimacy and to lend authority to what speakers were saying. Needless to say, while some iimbongo were 'context ready', others were recontextualised to have something to say about the issues prevailing at the time. The praises that grew from contemporary circumstances were those of the `ama-radicals', as they were called, namely, the princes, sons of Mabhoko, the Ndzundza-Ndebele chief (Ingwenyama) at that time. The praises of Mabhoko himself were largely those of Mabhoko I, who lived between 1800 and 1865. But although these iimbongo originated at that time, they were highly relevant to the circumstances prevailing at the time so that the process of recontextualisation was quite natural. Contextual issues such as these are described in chapter 4. The value of the performance approach is that, while a text is seen as part of a process, it is also recognised as language on display, language presented for enjoyment and as a display of communicative competence. Bauman and Briggs (1990) refer to this process as entextualisation. Language as display, or artistic language use, is characterised by numerous devices. In the Ndebele praise poems the metaphor can be seen to be the privileged trope, occurring more frequently than any other device. Contemporary Ndebele praise poets operate at a time when orality is being replaced by literacy. Very often praise poets document their own poetry, thus allowing for others to learn these praises through the medium of the written word. How does this affect creativity? These issues are addressed in chapter 5. Jimbongo as instances of 'master creative discourse' are meant to influence listeners and achieve practical ends in a time when there are so many other contending types of discourse and means of communication. The study concludes by briefly considering the role of this oral art form in contemporary Ndebele society.

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This thesis sets out to examine the role of the poems in Echo (a supplement to the Natal Witness) that were published between 1986 and 1994. I will be exploring these poems in the light of the political conflict that was taking place between Inkatha, on the one hand, and the United Democratic Front/Congress ofSouth African Trade Unions (UDF/COSATU), and later on the African National Congress (ANC), on the other. The introductory chapter will deal with the scope ofmy research. It will outline what it is that I will be researching and the direction of my research. I will also begin to introduce some of the key theoretical assumptions around izibongo (praise poetry) and some of its key definitions as a dominant tradition that influenced some of the Echo poets. Chapter Two will deal with the history of the Echo Poetry Corner itself. It looks at its early beginnings, who conceived the idea and why, and what the editorial policy of this page was. It will also shed some light on how complex issues, such as the originality and authenticity of the poems, were dealt with. The third chapter deals with the background to the political conflict in the Natal Midlands and in Pietermaritzburg in particular. It will be an analysis of violence, its origins and its interpretations, and will show how violence affected the people and the poets around Pietermaritzburg. In Chapter Four I will begin to critically analyse the poems, looking at various themes that were expressed in the poems. I will also define the role that these poems played in the political conflict, looking at whether they engaged with the reality of the time or tried to escape it. In conclusion, Chapter Five deals with my findings on the role that the Echo poems played during the political conflict. It will also address the issue of the role of the poet or poetry in a violent society. The positive role of poetry during war will also be dealt with. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.

Thesis (PhD)--Stellenbosch University, 2005 / ENGLISH ABSTRACT: This study investigates the cosmological context of Pindar' s victory odes, and its importance for their encomiastic purpose. The introductory chapter deals with selected aspects of Pindaric scholarship in order to establish the usefulness of such an investigation. The first part of the study focuses on gnomai as a reflection of cosmological ideas. In Chapter 2 modem scholarship on the proverb and maxim, various ancient texts on gnomai and a number of references in Pindar are analysed in support of the contention that gnomai provide a legitimate basis for an overview of the cosmology revealed in Pindars poetry. The overview presented in Chapter 3 discusses three broad topics. The first concerns the elemental forces, fate, god and nature, the second deals with the human condition and the third considers man in society from the perspectives of the household and family relationships on the one hand and relationships outside the OtKOs on the other. The overview suggests that Pindar's work is founded on a mostly conventional outlook on man and his relationships with both extra-human powers and his fellow man. To complement the overview three epinikia, Olympian 12, Isthmian 4 and Olympian 13 are analysed in Chapter 4. They demonstrate how the complexity of an actual situation compels the poet to emphasise different aspects of the cosmology or even to suggest variations to accepted views. The analyses imply that presenting the cosmological context of a particular celebration in an appropriate way is part of the poet's task. This aspect is further investigated in Chapter 5, which looks at the role of the poet as mediator of cosmology. In some cases the poet demonstrates certain preferred attitudes which in tum presuppose particular cosmological convictions. In others this role involves changing the perspective on the circumstances or attributes of a victor or his family through a modification of cosmological principles. Different approaches to the same theme in different poems show the author Pindar shaping the narrator-poet to represent varying viewpoints in order to praise a specific victor in the manner most suitable to his wishes and circumstances. The fact that the poet's task includes situating the victory in its cosmological context means that the glorification of a victor includes presenting him as praiseworthy in terms of broader life issues, such as the role of the divine in human achievement, a man's attitude to success and his status in society. Pindar's use of cosmological themes in general speaks of pragmatism rather than conformity to and the consistent defense of a rigid framework of values. However, the prominence of cosmology in the odes and the sometimes very conspicuous role of the poet in communicating it also reveal Pindar's abiding interest in man and his position in the world / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die kosmologiese konteks van Pindaros se oorwinningsodes, en die belangrikheid daarvan vir die gedigte as prysliedere. Die inleidende hoofstuk behandel geselekteerde aspekte van Pindaros-navorsing om die nut van so 'n ondersoek te bepaal. Die eerste deel van die studie fokus op gnomai as 'n bron van kosmologiese idees. In hoofstuk 2 word moderne navorsing oor spreekwoorde en wysheidspreuke, verskeie antieke tekste oor gnomai en 'n aantal verwysings in Pindaros se werk ontleed ter ondersteuning van die stand punt dat gnornai 'n redelike grondslag bied vir 'n oorsig van die kosmologie wat in Pindaros se digkuns na vore kom. Die oorsig aangebied in hoofstuk 3 bespreek drie bree onderwerpe, eerstens die fundamentele magte, die noodlot, god en die natuur, tweedens die menslike toestand en derdens die mens in die samelewing uit die hoek van die huishouding en familieverhoudings enersyds en verhoudings buite die OtKOs ; andersyds. Die oorsig dui aan dat Pindaros se werk gebaseer is op 'n hoofsaaklik konvensionele uitkyk op die mens en sy verhoudings met beide buite-menslike magte en sy medemens. Ter aanvulling van die oorsig word drie oorwinningsodes, Olimpiese Ode 12, lsmiese Ode 4 en Olimpiese Ode 13 in hoofstuk 4 ontleed. Die ontledings toon aan hoe die kompleksiteit van 'n gegewe situasie die digter verplig om verskillende aspekte van die kosmologie te beklemtoon of selfs afwykings van aanvaarde menings voor te stel. Die ontledings impliseer dat dit deel van die digter se taak is om die kosmologiese konteks van 'n spesifieke viering op die gepaste wyse aan te bied. Hierdie aspek word verder ondersoek in hoofstuk 5, waarin die rol van die digter as bemiddelaar van kosmologie bekyk word. In sommige gevalle demonstreer die digter sekere voorkeurhoudings wat op hulle beurt spesifieke kosmologiese oortuigings veronderstel. In ander gevalle behels hierdie rol die verandering van die perspektief op die omstandighede of eienskappe van 'n oorwinnaar of sy familie deur die modifisering van kosmologiese beginsels. Verskillende benaderings tot dieselfde tema in verskillende gedigte wys hoe die outeur Pindaros die vertellerdigter vorm om wisselende standpunte te verteenwoordig sodat 'n spesifieke wenner op die mees geskikte manier in ooreenstemming met sy wense en omstandighede geprys kan word. Die feit dat die digter se taak die plasing van die oorwinning in sy kosmologiese konteks insluit, beteken dat die verheerliking van 'n wenner insluit dat hy voorgestel word as lofwaardig kragtens breer lewenskwessies, soos byvoorbeeld die rol van die goddelike in menslike prestasie, 'n mens se houding tot sukses en sy status in die gemeenskap. Oor die algemeen spreek Pindaros se gebruik van kosmologiese temas van pragmatisme eerder as onderwerping aan en die volgehoue verdediging van 'n rigiede stel waardes. Die belangrikheid van kosmologie in die odes en die soms besonder opvallende rol van die digter in die kommunikasie daarvan openbaar egter ook Pindaros se blywende belangstelling in die mens en sy plek in die wereld.

The thesis examines the relationship between poetry and politics under Elizabeth and James, tracing certain changes in modes of artistic representation through historical analysis of particular masques and entertainments. The introductory chaper discusses the close connection between poetry and ceremonial in the Renaissance: in panegyric the poet's private imagination is subordinated to public images, and his art is one of ceremonial "ornamentation". Subsequent chapters discuss the effects of social, political and religious changes on this ceremonial poetic. Chapter 31 relates the political symbolism of Tho Faerie Queene to the tradition of pageantry on which it was based, and analyzes the growing tension in the later books between public and private vallies. Chapter III discusses the new developments of the 1590s, arguing that both in politics and in literature new tensions were being felt. The first part deals with the poets associated with Essex, the second with the poetry of Sir Walter Ralegh. Chapter IV discusses the effects on panegyric of the new, less external concepts of decorum introduced by the writers of the "plain style", with special reference to FullcGreville and Samuel Daniel. Chapter Y deals with Jonson's masques, showing that while in political concent they mirror the line taken by the king and his more conservative advisers, in artistic form they display an ambivalence characteristic of Jonson's work. Chapter VI discusses the Jacobean poets wco imitated Spenser, showing the continuity of l.heir political concerns from the public poetry of the 1590s and arguing that Spenserian poetry, especially pastoral, became a protest against the corruption of the Jacobean court. A newly discovered draft of a masque for the wedding of Princess Elizabeth in 1613 is included in an Appendix.

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

Thesis (Ph. D.)--Harvard University, 1976. / Includes bibliographical references.

This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion