Thesis (M.A.)--University of North Texas, May, 2007. / Title from title page display. Includes bibliographical references.

Thesis (M.A.R.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 59-63).

There are many words for the riddle in Zulu. It is commonly called isiphicophicwano or isiphicwaphicwano, imfumbe, impicabadala, umgandeliso and inggayinggayi. The riddle is described as an indoor game engaged in at night and intended as a social pastime. Riddles are found all over the world. They are common amongst all the Bantu peoples living in the Republic of South Africa and even outside the Republic of South Africa. They have been collected all over Africa, Europe, Asia and America. This is an attempt to study Zulu riddles somewhat more than has been done . Attention is paid to the statement of the riddle called by Harries (1976, p.41) the precedent. He calls the answer , the sequent. A collection of Zulu riddles has been made which has been divided into two sections. Riddles were collected from Radio programmes, books, periodicals and from people interviewed. The scientific approach to the riddles follows different methods i.e. functional, structural and activist method which concentrates on the action involved in riddling. Then the introductory formulae of riddles are explained. The importance of performance and drama during the riddling is elucidated. The place and time of riddling is indicated in order to show the value of riddles to society . An analysis of riddles is made. Firstly, the grammatical analysis is made, and secondly, a structural analysis is undertaken. Under this section it is found that the riddle has descriptive elements which are also regarded as content elements. It is also found that riddles are non-oppositional and oppositional. Under non-oppositional riddles there are literal and metaphorical riddles. Oppositional riddles are characterised by the occurrence of an opposition between at least one pair of descriptive elements. Then in antithetical oppositional riddles one of the elements opposes the other by word or action . In privational oppositional riddles one descriptive element is a denial of logical or natural attribute of the first . In casual oppositional riddles the second element explicitly denies the expected consequence. Stylistically, the riddles show~ the use of ideophones which are an idea-in-sound to express vividness and the repetition of words . The technique of riddling i s explained whereby an animal is replaced by an object , a plant by a human being and vice versa and so on. And finally, the metaphor in riddles is analysed and it is shown that riddles have versions and that there are different riddles for the same referent. The riddles are then classified according to contents, structural analysis and their types. Riddles are then regarded as a form of living tradition and old and new types are shown .Riddles are then regarded as a form of living tradition and old and new types are shown. And in the conclusion the main findings from the study of riddles are given. At the end there is an appendix, a list of Zulu riddles with their translations. / African Languages / M.A. (African Languages)

Thesis (Ph. D.)--Illinois State University, 2007. / Title from title page screen, viewed on March 11, 2008. Dissertation Committee: Susan M. Kim (chair), Susan M. Burt, K. Aaron Smith, Thomas Klein. Includes bibliographical references (leaves 318-326) and abstract. Also available in print.

Vitendawili vya Kiswahili, kama vitendawili katika lugha nyingine za Kibantu, na kwa hakika katika lugha nyingine za Kiafrika, ni mafumbo ambayo hutolewa kama kauli au swali linalotaka jibu (Gowlett 1979; Harries 1971, 1976; Okpewho 1992). Vitendawili katika Kiswahili ni sehemu muhimu sana ya michezo ya watoto. Katika jamii ambazo bado zinaishi maisha ya jadi, watoto hukaa pamoja jioni pengine wakiwa na dada zao, kaka zao, na binamu zao wakasimuliana hadithi na kutegana vitendawili. Makala hii inachunguza muundo wa visabiki vya vitendawili vya Kiswahili na kutokana na mchangamano wa muundo tunapendekeza kwamba vitendawili ni njia kuu ya kufundisha watoto ufasaha wa lugha. Ukichunguza usambamba katika vitendawili utaona changamoto kubwa hutolewa kwa mtegaji na wasikilizaji wake kutokana na usambamba ulioko katika sintaksia, fonolojia, kadhalika sitiari. Kama Scheub (2002:124) asemavyo: «Vitendawili ni modeli kwa ajili sanaa za lugha».

Th. Etat : Lettres : Lyon 3 : 1987.

In 2010, Simon Estok observed that, "the most immediate question ecocriticism can ask is about how our assumptions about animals affect the natural environment". In this thesis, I respond to this challenge by generating a sustained conversation between the hitherto surprisingly distinct fields of animal studies and ecocriticism. I do this by formulating a new critical concept, that of the geomorphic animal, which I use to show how literary representations of animals often expose the many complex ways in which they constitute space rather than simply inhabiting it. This, in turn, should make them central to future ecocritical readings. I focus on two periods, medieval and modern; the broad historical and generic scope of this thesis is intended to demonstrate the conceptual validity and robustness of geomorphic readings. Chapter One shows how concerns with death and symbiosis are expressed through the earth-bound activities of the geomorphic animals of the Exeter Book riddles. Chapter Two examines geomorphic whales in texts deriving from two related traditions: the Book of Jonah and the Physiologus. Chapters Three and Four focus on modern theatre, which affords distinctive ways of articulating the spatial implications of geomorphism. Chapter Three discusses the literary representation of museums and zoos in terms of the interpretative complexities generated by staging and spectacle. Chapter Four, focusing on mediation, discusses the interplay between animals, viewpoints and place in theatre, also taking into account particular issues arising from the adaptation of plays into films. This argument paves the way to addressing the geomorphic depiction of marginalised humans and human groups, suggesting the critical potential of geomorphism as a means of furthering feminist and post-colonialist aims.

In Swahili language proficiency is measured in terms of a speakers knowledge and use of methali (proverbs), misemo (sayings), mafumbo (riddles) and vijembe (sharp comments). The aim of the paper is to show the different uses of mafumbo and vijembe. Their meanings are at first sight hidden to the addressee, but understood in the context of their use. Mafumbo can be used as teasing, as circumscription for parts of the body of which it is taboo to speak of, as moral reprimands and warnings, and as a secret language between intimate partners or groups of people. Vijembe - `What cuts more than a knive? - the tongue´ - are used on kanga and in newspapers. An important feature of vijembe is that it always asks for an answer, therefore has a strong aspect of competition.

Vitendawili vya Kiswahili, kama vitendawili katika lugha nyingine za Kibantu, na kwa hakika katika lugha nyingine za Kiafrika, ni mafumbo ambayo hutolewa kama kauli au swali linalotaka jibu (Gowlett 1979; Harries 1971, 1976; Okpewho 1992). Vitendawili katika Kiswahili ni sehemu muhimu sana ya michezo ya watoto. Katika jamii ambazo bado zinaishi maisha ya jadi, watoto hukaa pamoja jioni pengine wakiwa na dada zao, kaka zao, na binamu zao wakasimuliana hadithi na kutegana vitendawili. Makala hii inachunguza muundo wa visabiki vya vitendawili vya Kiswahili na kutokana na mchangamano wa muundo tunapendekeza kwamba vitendawili ni njia kuu ya kufundisha watoto ufasaha wa lugha. Ukichunguza usambamba katika vitendawili utaona changamoto kubwa hutolewa kwa mtegaji na wasikilizaji wake kutokana na usambamba ulioko katika sintaksia, fonolojia, kadhalika sitiari. Kama Scheub (2002:124) asemavyo: «Vitendawili ni modeli kwa ajili sanaa za lugha».

Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)