Submitted in fulfilment for the degree Master of Arts in the Departmnet of African Languages at the University of Zululand, 2002. / Lucwaningo loluhlelwe ngetehluko letisitfupha, ngetibongo temaKhosi eluhlanga lasitfupha lalandzelako: Sobhuza I (1815 - 1836), Mswati Il (1840 - 1868), Ludvonga Il, Mbandzeni (1875 - 1889), Mahlokohla (1890 - 1899) naSobhuza II (1921 - 1982). Lapha kubukwe Iikhono lebumbongi ngekugcila elulwimini, etigamekweni letitsintsa kubusa kwawo nasekutfutfukisweni kwelulwimi. Lucwaningo lonkhe lugcile etibongweni letigcogcelwe ndzawonye njengesengeto noma sitsasiselo (appendix). Sehluko 1, sendlalela lucwaningo ngekuveta tinhloso, tindlela, indzima nemigudvu yelucwaningo. SilihJahlandlela lalolucwaningo ngekukhombisa ., lokuyewukwenteka kuleso naleso sehluko. Sehluko 2, sigcamisa umlandvomphilo walamakhosi ngekubuka lusendvo, buchawe, kubambisana, inhlakanipho neJuchumano. SehJuko 3, sibuka kwakheka kwangaphandle kwetibongo ngekugcila kuloku lokulandzelako: luhlelotinhlavu, simisomagama, imvumelwano, luhlelomisho, timphawu tengucuko, inhlelembo nesigci. Sehluko 4, sigcamisa tinongo tenkhulumo letehlukene letifanisako, letehlukanisako naletigcamisa budlelwano. Sehluko 5, siveta kusebenta kwetitfombemagama ngetilwane letinkhulu naletincane, timila nalokwakhiwe. Titsintsa tintfo letiphilako naletingaphilf. Sehluko 6, sigcogcela ndzawonye konkhe lokucwaningiwe nalokuphawulekako elucwaningweni jikelele. Sibuyeketa lonkhe lucwaningo, sibuye sichumanise lucwaningo netiphakamiso.

This thesis is a critical evaluation of the content, form and technique of traditional and modern praise poetry in Northern Sotho. Chapter 1 presents the aim of the study and the method of research and defines the concepts of poetry and praise poetry. Praise poetry is viewed from a traditional and modern perspective. Chapter 2 deals with the content and technique of praise poetry. Content consists of oral praise poetry lauding the heroic deeds of men in battles and casual encounters. Modern praise poetry comments on current events. Devices for rapid composition of the praises are discussed. Techniques differ between poets and according to time, place and occasion. Chapter 3 covers the traditional praises of chiefs, warriors, initiates, animals, birds, divining bones and totem praises, examining them from the perspective of content and form. The praises extol human achievements, peculiar animal characteristics and the interpretation of "mawa" of divining bones. Chapter 4 deals with the development and transition from traditional to modern form as well as the reciprocal influence. The content and form of modern praises of chiefs, academics, community leaders, animals, birds, divining bones, man-made objects and some natural phenomena are discussed. Many modern poets have also written praises of fictional characters. Chapter 5 compares oral and written praise poetry by concentrating on the similarities and differences between traditional and modern praise poetry. This study shows that there are differences in of theme, rhyme, beginning and ending, sentence length and significant emphasis on man-made objects such as cars and locomotives as exceptional modes of transport for commuters. Chapter 6 concludes the study and proves that praise poetry is a living or dynamic entity which will continue to exist. Praise poetry highlights persons, interpersonal relationships, attitudes and values derived from an African conceptions of the universe. / African Languages / D.Litt. et Phil (African Languages)

This thesis is a critical evaluation of the content, form and technique of traditional and modern praise poetry in Northern Sotho. Chapter 1 presents the aim of the study and the method of research and defines the concepts of poetry and praise poetry. Praise poetry is viewed from a traditional and modern perspective. Chapter 2 deals with the content and technique of praise poetry. Content consists of oral praise poetry lauding the heroic deeds of men in battles and casual encounters. Modern praise poetry comments on current events. Devices for rapid composition of the praises are discussed. Techniques differ between poets and according to time, place and occasion. Chapter 3 covers the traditional praises of chiefs, warriors, initiates, animals, birds, divining bones and totem praises, examining them from the perspective of content and form. The praises extol human achievements, peculiar animal characteristics and the interpretation of "mawa" of divining bones. Chapter 4 deals with the development and transition from traditional to modern form as well as the reciprocal influence. The content and form of modern praises of chiefs, academics, community leaders, animals, birds, divining bones, man-made objects and some natural phenomena are discussed. Many modern poets have also written praises of fictional characters. Chapter 5 compares oral and written praise poetry by concentrating on the similarities and differences between traditional and modern praise poetry. This study shows that there are differences in of theme, rhyme, beginning and ending, sentence length and significant emphasis on man-made objects such as cars and locomotives as exceptional modes of transport for commuters. Chapter 6 concludes the study and proves that praise poetry is a living or dynamic entity which will continue to exist. Praise poetry highlights persons, interpersonal relationships, attitudes and values derived from an African conceptions of the universe. / African Languages / D.Litt. et Phil (African Languages)

Made available in DSpace on 2016-07-27T13:49:03Z (GMT). No. of bitstreams: 1 Keila Marcia Ferreira de Macedo Carvalho.pdf: 576712 bytes, checksum: 6e2c60ed99ee7101f29ee627b74eee45 (MD5) Previous issue date: 2006-02-20 / The object of this dissertation is the body, which praises and adores the Sacred through the dance. And for that object to be understood, a historical cutting of the body in the Judaism was made at first, later the body was put into discussion in a Greek dual vision, which still persists in our days. That body was also discussed, from the pentecostalism to the neopentecostalism, noticing that it is seen as a Temple of the Holy Spirit. Finally, knowledge about this body was sought in the perspective of a phenomenological approach. Speeches of 08 (eight) subjects, who experience the existence of the dance in their bodies in the evangelical cults, were collected. Besides the formal speeches, the help of informal ones and observations was used, concerning no predetermined styles of dance, but the existence and each subject's glance at the experience of placing their bodies to adore the Sacred. Starting with the collected speeches, guided by the interrogation "What is the body, which praises and adores God through the dance, like?", the understandings and reflections were tracked in search of knowing the body that dances with its own glances. The body that dances with other senses was looked at, and felt by people who are considered to be worshipers in the evangelical cults. Thus, according to the foundations of the phenomenological research, a particular perspective was sought; completely hermeneutic in a certain moment; the studied phenomenon was observed, searching for a deeper analysis of the universe essence in question. / O objeto desta dissertação é o corpo que louva e adora ao Sagrado, mediante a dança. E para que seja compreendido esse objeto, primeiro foi feito um recorte histórico do corpo no judaísmo, depois falou-se sobre o corpo numa visão dual grega que persiste até nossos dias. Discutiu-se, também, sobre esse corpo, do pentecostalismo ao neopentecostalismo, percebendo que o mesmo é visto como Templo do Espírito Santo e, por fim, buscou-se conhecer esse corpo na perspectiva de uma abordagem fenomenológica. Foram coletados discursos de 08 (oito) sujeitos, que experimentam a vivência da dança em seus corpos nos cultos evangélicos. Além dos discursos formais, também contou-se com a ajuda de discursos informais e observações, não havendo preocupação com estilos predeterminados de dança, mas sim com a vivência e o olhar de cada sujeito para com a experiência de colocar seu corpo para adorar ao Sagrado. A partir dos discursos coletados, orientados pela interrogação "Como é o corpo que louva e adora a Deus, mediante a dança?", foram trilhados os entendimentos e reflexões em busca de conhecer o corpo que dança com os próprios olhares. Olhou-se para o corpo que dança com outros sentidos, e sentido por pessoas que são consideradas adoradores nos cultos evangélicos. Assim, consoante os fundamentos da pesquisa fenomenológica, buscou-se encontrar uma perspectiva particular, e totalmente hermenêutica em um dado momento; olhou-se para o fenômeno situado, buscando um aprofundamento na essência do universo em questão.

The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux. The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale. / African Languages / M.A. (African Languages)

The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux. The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale. / African Languages / M.A. (African Languages)

In this thesis, the research focuses on the role and presentation of women in Zulu traditional literature. Employing feminism as a literary canon, the research investigates whether the perceived oppression of Zulu women is reflected in such Zulu folklore. The research aims to establish whether or not folklore was used as a corrective measure or avenue of correcting gender imbalances. This dissertation proceeds from the premise that the traditional Zulu society or culture attached to women certain stereo-typical images which projected them as witches, unfaithful people, unfit marriage partners on the other hand or brave care givers, loving mothers and upright members on the other hand. Using feminism as a scientific approach, the study investigates whether these projections were not oppressive on Zulu women. The study is scientifically organised into various chapters dealing with various subjects e.g. the feminist theory (chapter 2), portrayal of Zulu women in folktales (chapter3), in proverbs (chapter 4) and praise-poetry (chapter 5). The study concludes that the traditional Zulu woman felt depressed by this patriarchal discrimination especially in the marriage situation. In the day and age of African Renaissance, the study recommend that it is imperative for women to mould their children, especially their sons to adapt to the idea that women have changed, they have rights and priviledges which could intimidate their male ego. / African Languages / D. Litt. et Phil. (African languages)

In this thesis, the research focuses on the role and presentation of women in Zulu traditional literature. Employing feminism as a literary canon, the research investigates whether the perceived oppression of Zulu women is reflected in such Zulu folklore. The research aims to establish whether or not folklore was used as a corrective measure or avenue of correcting gender imbalances. This dissertation proceeds from the premise that the traditional Zulu society or culture attached to women certain stereo-typical images which projected them as witches, unfaithful people, unfit marriage partners on the other hand or brave care givers, loving mothers and upright members on the other hand. Using feminism as a scientific approach, the study investigates whether these projections were not oppressive on Zulu women. The study is scientifically organised into various chapters dealing with various subjects e.g. the feminist theory (chapter 2), portrayal of Zulu women in folktales (chapter3), in proverbs (chapter 4) and praise-poetry (chapter 5). The study concludes that the traditional Zulu woman felt depressed by this patriarchal discrimination especially in the marriage situation. In the day and age of African Renaissance, the study recommend that it is imperative for women to mould their children, especially their sons to adapt to the idea that women have changed, they have rights and priviledges which could intimidate their male ego. / African Languages / D. Litt. et Phil. (African languages)

Text has abstracts in English and isiNdebele languages / This study focused on the naming and praises of amasokana (initiates) among the South African amaNdebele during and after the initiation process. An explanation is offered as to why amasokana of amaNdebele use Sepedi names instead of isiNdebele names during their transition from boyhood to manhood. Using critical language awareness, this study examined names and praises based on the cultural and traditional poetic forms recited by the amasokana during their homecoming ceremonies when they are introduced to their community by their post-initiation names. This is a case study that made use of interviews and observations as instruments to acquire data about the naming practices and praises of the amasokana of the amaNdebele. The research aims to make a meaningful contribution to the recording and preservation of the indigenous names of amasokana and their praises for posterity and to sustain cultural identity and the quintessential elements of humanity. / Irhubhululo leli linqophe ekuthiyweni kwamabizo kanye neembongweni zamasokana wamaNdebele eSewula Afrika ngesikhathi nangemva kwengoma. Isendlalelo siqale khulu ekutheni kubayini amasokana wamaNdebele asebenzisa amabizo weSepedi esikhundleni samabizo wesiNdebele ngesikhathi lokha nakasuka ebusaneni aya ebudodeni. Kilelirhubhululo, kuhlolwe amabizo kanye neembongo ngokuqalisa eendleleni ezibukondlo zangokwesiko kanye nomkhuba wokubonga kwamasokana nakagodukako lokha nakazazisa ngamabizo wabo wobusokana. Ngalokho- ke amabizo wendabuko wamasokana kanye neembongo kufanele kurekhodwe, kubulungwe ukuze kubulungwe ubunjalo besiko kanye neengcenye eziqakathekileko zobuntu. / African Languages / M.A. (African Languages)

Largely based on material recorded during an internationally sponsored inter-university research tour through the Sesotho speaking area of southern Africa in August 2000, this thesis explores the state of the Basotho oral poetry, the dithoko `praise poems', the difela `mine workers' chants' and the diboko `family odes' at the beginning of the 21st century. Unlike the classical dithoko which were inspired by the wars or the battles in which the Basotho fought as well as cannibalism, those composed at the beginning of the 21st century are inspired by socio-economic and political situations of the poets. Lack of wars has resulted in the poets turning the praising to their chiefs and themselves. Changing socio-economic conditions inspired the difela compositions. The diboko though still a living tradition among the rural Basotho are not adhered to by some who are affected by modernism. Performance of the three oral genres has shifted from the natural settings such as the battlefield, working parties, traditional courts, assemblies, etc., to organized annual festivals such as Morija Arts & Cultural Festival which constitute the Basotho's `popular culture'. The subject-matter and themes of the dithoko have shifted from warfare to traditional chiefs, current heroic deeds of the poets, current political situations and religion. The difela are characterized by inclusion of new subject-matter. The diboko still play an important function as carriers of the names of the ancestors, the tribal idiosyncrasy of the clan and the history associated with the clan's establishment. The three Basotho oral genres demonstrate an emergence of a new phenomenon whereby one genre penetrates another, a phenomenon which may be called `migration of texts'. The last chapter explores the insights emanating from the entire research, and discusses suggestions on what should be done to ensure that the Basotho oral genres are maintained and improved. The video footage of the poets recorded at various places of the Free State and Lesotho have contributed to the success of the research. The thesis serves as a contribution to the Basotho's dynamic oral poetry on which scholars will hopefully do further research in the near future. / African Languages / D. Litt et Phil. (African Languages)