J.M. Ntsime's short story "Khutsana" is the subject of a narratological analysis in this minidissertation. Using Bal's theory which distinguishes between elements and aspects of a story, this study focuses on the elements of a story, which include events, actors, time and place. Events in "Khutsana" have been identified, arranged in chronological order and organised into eight sequences. The actors have been classified according to the actantial model in order to highlight the relations which exist between the groups of actors. For instance, Segwana and Gabankitse are classified as subjects, and the object of their striving is to care for, and love Lesego. The receiver is often the same person as the subject, that is, Gabankitse and Segwana. More than one actant can occur with the same actor. The sender is in many cases not a person but an abstraction. The opponent-actant is classified as both abstractions and actors. All the helpers show a collective disposition regarding care for and love to Lesego. Two kinds of duration have been determined. namely a crisis period which indicates a short span of time, and a longer developmental period. The location where events happened - in a rural area - is given. In conclusion, this study has shown that Bal's theory can successhlly be applied in a narratological analysis of the Setswana short story "Khutsana". Strachan (1988:6) pointed out that one thing remains to be evident, viz. that the story is the "original" level of the narrative text before the particulars are viewed from a special viewpoint and before it is told by a narrative instance. Events, actors, time and place occur at this level. / Skripsie (MA (Tswana))--PU vir CHO, 1997

Skripsie (MA (Tswana))--PU vir CHO, 1997.

J.M. Ntsime's short story "Khutsana" is the subject of a narratological analysis in this minidissertation. Using Bal's theory which distinguishes between elements and aspects of a story, this study focuses on the elements of a story, which include events, actors, time and place. Events in "Khutsana" have been identified, arranged in chronological order and organised into eight sequences. The actors have been classified according to the actantial model in order to highlight the relations which exist between the groups of actors. For instance, Segwana and Gabankitse are classified as subjects, and the object of their striving is to care for, and love Lesego. The receiver is often the same person as the subject, that is, Gabankitse and Segwana. More than one actant can occur with the same actor. The sender is in many cases not a person but an abstraction. The opponent-actant is classified as both abstractions and actors. All the helpers show a collective disposition regarding care for and love to Lesego. Two kinds of duration have been determined. namely a crisis period which indicates a short span of time, and a longer developmental period. The location where events happened - in a rural area - is given. In conclusion, this study has shown that Bal's theory can successhlly be applied in a narratological analysis of the Setswana short story "Khutsana". Strachan (1988:6) pointed out that one thing remains to be evident, viz. that the story is the "original" level of the narrative text before the particulars are viewed from a special viewpoint and before it is told by a narrative instance. Events, actors, time and place occur at this level. / Skripsie (MA (Tswana))--PU vir CHO, 1997

The aim of this study is to investigate conflict as a literary technique in general, and in J. M. Ntsime's play, Pelo e ja Serati, in particular. The discussion will focus on the structural causes and the effect of conflict in drama. The study comprises seven chapters. The aim, scope and methods of research are outlined and motivated in chapter one. The second chapter provides background about Ntsime's text. This mise en scene includes a plot summary, discussion of the genre of the play as well as information about the cast of characters. The chapter further considers some of the aspects upon which conflict relies, including characterisation, naming and setting. The third chapter offers some theoretical perspectives on conflict in general. These serve to determine the nature of conflict and its importance in drama. Chapter four deals with the structural analysis of conflict in Pelo e ja Serati. Emphasis is placed on the internal structure of conflict, to demonstrate its vital role in the development of dramatic action, from the beginning of the play through to its conclusion. Chapter five explores the relationship between dialogue and conflict in the play. It explores the ways in which dialogue develops and sustains conflict, Chapter six focuses on the style of the author. It discusses general stylistic techniques, including poetic language, imagery, proverbs and idioms. Particular attention was given to the use of these devices in Pelo e ja Serati and the manner in which they develop and sustain the conflict. Chapter seven revisits the main points of the study. By way of conclusion, I argued that the moral and ethical lessons portrayed by Ntsime in Pelo e ja Serati remain relevant to today's reader/audience. / Thesis (MA)--PU for CHE, 1999

The aim of this study was to explore representation and use of character in J. M. Ntsime's play, Pelo e ja Serati, with special reference to the ways in which the general attitudes and thinking processes of the characters are influenced by the social environment in which they find themselves. Conflict between traditional and modern marriage customs, a major theme of Ntsime's play, will also be examined. Although this study confines itself to Ntsime's drama, it intends to highlight the significance of characterisation in plays generally. Reference will be made to the views of, inter alia, Levitt, Pfister and Barry. This study comprises a total of seven chapters, including the introduction which details the aim, scope and method of research. Chapter two provides a backdrop to the analysis, exploring the life and career of J. M. Ntsime and also summarises the cast of characters and the plot of Pelo e ia Serati. Following this mise en scene, chapter three takes up the concept of "characterisation" and considers the author's use of setting (temporal as well as geographical) and the significance of place names. Chapter four focuses on one of Ntsime's most effective methods of characterisation, his naming of the characters. Chapter five examines Ntsime's use of imagery and comparison. Chapter six considers the crucial role of conflict in Peto e ja Serati. Here, I examine the fundamental conflict between traditional and modern marriage customs as well as the character Dithole's personal struggle between duty/destiny and desire. Chapter seven concludes this minidissertation by considering, in the spirit of comedy, the lessons about social change contained in the play. / Thesis (MA)--PU for CHE, 1999

Thesis (MA)--PU for CHE, 1999.

Thesis (MA)--PU for CHE, 1999.

The aim of this study is to investigate conflict as a literary technique in general, and in J. M. Ntsime's play, Pelo e ja Serati, in particular. The discussion will focus on the structural causes and the effect of conflict in drama. The study comprises seven chapters. The aim, scope and methods of research are outlined and motivated in chapter one. The second chapter provides background about Ntsime's text. This mise en scene includes a plot summary, discussion of the genre of the play as well as information about the cast of characters. The chapter further considers some of the aspects upon which conflict relies, including characterisation, naming and setting. The third chapter offers some theoretical perspectives on conflict in general. These serve to determine the nature of conflict and its importance in drama. Chapter four deals with the structural analysis of conflict in Pelo e ja Serati. Emphasis is placed on the internal structure of conflict, to demonstrate its vital role in the development of dramatic action, from the beginning of the play through to its conclusion. Chapter five explores the relationship between dialogue and conflict in the play. It explores the ways in which dialogue develops and sustains conflict, Chapter six focuses on the style of the author. It discusses general stylistic techniques, including poetic language, imagery, proverbs and idioms. Particular attention was given to the use of these devices in Pelo e ja Serati and the manner in which they develop and sustain the conflict. Chapter seven revisits the main points of the study. By way of conclusion, I argued that the moral and ethical lessons portrayed by Ntsime in Pelo e ja Serati remain relevant to today's reader/audience. / Thesis (MA)--PU for CHE, 1999

The aim of this study was to explore representation and use of character in J. M. Ntsime's play, Pelo e ja Serati, with special reference to the ways in which the general attitudes and thinking processes of the characters are influenced by the social environment in which they find themselves. Conflict between traditional and modern marriage customs, a major theme of Ntsime's play, will also be examined. Although this study confines itself to Ntsime's drama, it intends to highlight the significance of characterisation in plays generally. Reference will be made to the views of, inter alia, Levitt, Pfister and Barry. This study comprises a total of seven chapters, including the introduction which details the aim, scope and method of research. Chapter two provides a backdrop to the analysis, exploring the life and career of J. M. Ntsime and also summarises the cast of characters and the plot of Pelo e ia Serati. Following this mise en scene, chapter three takes up the concept of "characterisation" and considers the author's use of setting (temporal as well as geographical) and the significance of place names. Chapter four focuses on one of Ntsime's most effective methods of characterisation, his naming of the characters. Chapter five examines Ntsime's use of imagery and comparison. Chapter six considers the crucial role of conflict in Peto e ja Serati. Here, I examine the fundamental conflict between traditional and modern marriage customs as well as the character Dithole's personal struggle between duty/destiny and desire. Chapter seven concludes this minidissertation by considering, in the spirit of comedy, the lessons about social change contained in the play. / Thesis (MA)--PU for CHE, 1999