Bibliography: pages 198-218. / This study is an investigation into three aspects of K.P.D. Maphalla's poetry: influences at work in his poetry; the nature and significance of imagery employed; and the theme of protest as conveyed through poetic aestheticism. Influence constitutes one of the main poetic devices which give amplitude to the poet's compositions. His imagery is a window through which the reader catches a glimpse of the poet's mind. The reciprocal relationship between the theme of protest and poetic artistry is also discussed. Nowhere in Sesotho literary studies have the three aspects mentioned above been treated in the manner this study does. In this way the study breaks new ground. We describe, analyse and interpret extracts from Maphalla's poetry by borrowing tools freely from the various literary theories. We do not tie ourselves to a particular theory. Our approach can also be described as both extrinsic and intrinsic. The study makes a contribution in three respects. First, it illustrates how a knowledge and understanding of some material from both oral tradition and Western acculturation can make a significant contribution to a proper analysis and interpretation of Sesotho poetry. Secondly it demonstrates how imagery also reveals both the poet's attitude towards his subject matter and his world-view in general. Thirdly, the study indicates that protest can be voiced through the dignified genre of poetry. In short, the study shows that whilst Sesotho poetry is functional in its thrust, it also preens itself with poetic aestheticism. We hope that this study will add to the existing universal principles of literary criticism.

In this dissertation the three poems Lehu, Polokong written by Ratlabala and Matsoba by Lentsoane, are compared. Thematically they deal with life that triumphs over death, while the topics that are addressed, vary, namely death, at a funeral, and flowers respectively. In a literary sense the poems are compared in respect of (a) content, (b) composition, and (c) stylistic finish, which means that an adapted narratological model of description is used for this purpose. Additionally the three poems are described according to their metric composition. The content of the poems differs altogether. In Lehu death is described as having no respect for human beings, but rather deprives them of life in a cruel way. In Polokong the death of a beloved old farmer is described, while Lentsoane talks about the beauty of flowers in Matsoba. Structurally these three poems are composed in exactly the same manner, and each one consists of an image and an application, which consequently assimilates them with the sonnet. In this way the author emphasises the message or theme by means of which he reports satirically about the powerlessness of death over human. Stylistically the finishing of Lehu and Matsoba agrees with the newspaper report in which the author reports impersonally and abstractly about the respective topics and the surrounding issues. Polokong, on the other hand, is strongly loaded emotionally, and the author is successful in winning the reader over to share in his sadness caused by the death of the old farmer. From this determines its success. Between these three poems Polokong is therefore the only work which is a convincing literary work. According to verse technique, Lehu and Matsoba are free verses, while metrically the composition of Polokong is more rigid. These metrical characteristics have also been taken into consideration regarding the stylistic interpretation of the poems, and have therefore been applied as a stylisticum. The concepts which have been used in this investigation, as well as the method of investigation and the model of description that is used, are described in detail. Each argument is concluded with a relevant summary so that the argumentation is clear and fully comprehensible. The most important findings are summarised concisely and are highlighted in the final chapter. / Dissertation (MA (Sepedi))--University of Pretoria, 2007. / African Languages / unrestricted

M.A. (African Languages) / Please refer to full text to view abstract

Many Southern Sotho authors have made important contributions to Southern Sotho literature. Their works cover a wide range of subjects which evince great differenees in significance and depth. We note this in the different books they have written and the themes they have treated. Unfortunately, to date, no serious evaluation of their books has been attempted. The real value of the works is still unkrown to the reader. No effort has been made to unearth the gist of the artist's imaginative power and also to pin-point the weaknesses, so that they oan be remedied. The critical and creative functions must be developed simultaneously if our literature is to attain great heights. At present there is, in most works, a kind of 'stagnation' and spiritual poverty which is realized in a failure to appreciate the meaning of our cultural milieu. We live, as it were, consciously in the present, out- - rooted and transported from cultural forces as if they do not impinge on our minds . There is a lack of depth and failure to recapture the essence of human feeling and thought, less ability and intellectual skill to interpret the world around, and a general incompetence to explain and unfold the very being of human sensitivity. / African Languages / M.A. (Bantu Languages)

M.A. / Lestrade (1949) has already stated that the African people themselves regard traditional praise poems as the highest form of their literary art. Scholars such as Goma (1967), Kunene (1971) and Swanepoel (1983) have already highlighted some aspects concerning the "literariness" of Soho dithoko tsa marena. In this study, an attempt is made to highlight some of the literary features of dithoko within the literary framework established by the Russian Formalists almost a century ago. Focus is placed on the devices used by the traditional composer to create poetic' language, which is different from everyday communicative language. In the study an important vehicle used by traditional composers to create - literariness namely the application of allusion to violate normal language usage is investigated. The interaction between the so-called narrative lines in dithoko and events alluded to in the poems is discussed. Allusion and traditional beliefs are also focused on. The function of poetic devices such as metaphorical language, symbols and poetic diction is also investigated within the framework of the Formalists.

“Rutang bana ditaola le se ye natšo badimong.” This is a Northern Sotho proverb, meaning: teach young generation the true African culture before death comes. This study looks at how elements of indigenous knowledge are being embedded or reflected in Northern Sotho poetry. Different types of poems and their different themes are being analyzed to reveal the indigenous knowledge in them. The contents of the poems reveal how our forbearers’ knowledge is being embedded in them. The way our African culture and the manner of doing things are reflected in the Northern Sotho selected poems. In conclusion, more research should be done in connection with the following issues:- • Initiation schools (for both males and females) • The lobola (magadi) issue • The Taboo (meila). / Dr. J. Manyaka

M.A. (African Languages) / The aim of this dissertation is to make a critical analysis of the poetry of M.I Mogodi. The study comprises of five chapters. The first chapter is the introduction where the focus is on why the poet's work is chosen for research. We will look into how the writer uses language to communicate his ideas in an understandable way. In the second chapter of our study we intend to develop a stylistic framework by looking deeper into the stylistic and other contributions made by different critics. In the third chapter of this study the intention is to analyze Mogodi's poetry books by looking into the different poetic techniques used by the poet. The analysis is undertaken by looking into the lexical, phonological and syntactic level. The fourth chapter of this work will endeavour to indicate how the poet has used proverbs, idioms and imagery as stylistic features to bring about more understanding in the literary work. Chapter five is the conclusion where we look back at how Mogodi managed to employ a variety of stylistic features to reveal his intention in his literary work.

D.Ed. / The aim of the research study is to design a methodological model for teaching Northern Sotho poetry at Colleges of Education so that teaching poetry will retain a spirit of delightfulness and cultivate a sensitivity of appreciation in pupils. They should grow as persons and learn to expand their imaginations so as to experience aesthetic pleasure. The various components of the syllabus for the Secondary Teachers' Diploma were investigated to determine whether they are relevant to secondary schools for which prospective teachers are being prepared. The opinions of lecturers, teachers and other educationists who are, or were involved in the teaching of Northern Sotho were considered and relevant study sources were used as a basis for the research study. A detailed comparative teaching and learning model for the study of Northern Sotho poetry was developed and a recommended model was designed which does not isolate Northern Sotho poetry teaching from that of classical languages, but identifies Northern Sotho poetry as having its own unique characteristics which, to a certain extent, provide its uniqueness. When analysing and determining the various types of Northern Sotho poetry and their characteristics, the difference between Western poetry and Northern Sotho poetry can be distinguished clearly. The historical development of Northern Sotho poetry, showing the various trends and thematic periods, was traced from as far back as 1935. The thesis provides a background of the types and characteristics of classical poetry and determines a model for the implementation of the teaching of Northern Sotho poetry, seeing that the absence of well-formulated aims and objectives is one of the weaknesses in the current Secondary Teachers' Diploma syllabus. Various pedagogical-didactical approaches are highlighted with emphasis on the communicative approach as a recommended childcentred approach. A model for teaching and evaluating Northern Sotho poetry has been formulated and its practical implementation is recommended. The research study culminates in practical pedagogic-didactical proposed measures which will enhance and improve the quality of teaching and evaluating Northern Sotho poetry. A selection of Northern Sotho poems, available for the various classes, was chosen and analysed in detail. The constitution and function of a Selection Committee and a Reviewing Book Committee was recommended with suggestions for membership. Outstanding poets and their contributions to Northern Sotho, which represent traditional as well as modern poetry, were selected as examples of the various methods used in preparing lesson/s on various poems. The thesis provides detailed information for prospective teachers in Northern Sotho poetry, which should be included in their syllabus, namely aims and objectives, content, teaching and learning methodology, testing and evaluation and also a model for evaluating literature and poetry in general. I sincerely hope that the study will be an incentive to developing a spirit of delight in Northern Sotho poetry as well as provoke critical response from lecturers, teachers and pupils alike, so that the teaching and learning of poetry will become the joy it deserves to be.

M.A. (African Languages) / Please refer to full text to view abstract

The writing of this thesis has been stimulated by the clear understanding of the poet’s resources are vitally important for those who intend to train others in Poetry Creative Writing. We suppose we think euphemistically that all creative writers write because they have something to say that is truthful and honest and pointed and important. This thesis is informed by creative voices of L.S. Booysen; C.L.J. Mophethe; N.S. Litabe and P.T.P.K. Maboea. During the interview each one of them was asked questions based on creativity and art as well as questions based on their poetry. Chapter one introduces the study and looks at the key concepts. Chapter two is the literary framework and focuses on the deconstructional approach and multiplicity of meaning in poetry. Chapter three looks at the creativity and art in the poetry of L.S. Booysen; C.L.J. Mophethe; N.S. Litabe and P.T.P.K. Maboea. In chapter four we discuss style in relation to Litabe. Chapter five looks at theme in Maboea’s poetry. In chapter six we focus on intertextuality in relation to Booysen and influence in relation to Mophethe. Chapter seven is a concluding statement that looks back into the first six chapters and also gives suggestions for future research. Our review of this thesis on creative writing has identified a number of factors that seem to foster people to write. But no one can influence people to become creative writers or poets or make them write well. The best one can do is to suggest to them some guidelines for creative writing. (vii) Many people wish to be proficient in poetry creative writing but to achieve this, one should be able to breathe into his work the true poetic spirit that pulses in the composition. This life cannot be created to order because it flows from the mind and soul of the poet and always without his being aware of what is happening, inspires and directs his art. Poetry is also a language that has been condensed, compacted, and trimmed to spark the lightning flash of insight. Poets are more attuned to the connection between language and things, existence and experience. Words have the capacity for poets to change reality, to deepen it, to make it more meaningful. For poets composition is a form of ritual magic. / Prof. R.S. Chaphole