Nagona na Mzingile, riwaya za mwandishi wa Kiswahili Euphrase Kezilahabi, zinasemekana kuwa na mtindo wa kipekee wa usimuliaji, na simulizi changamano ambalo si rahisi kueleweka. Makala haya yamezichukulia riwaya hizo mbili kama hadithi moja, na kuchunguza muundo wa fumbo unaosababisha upekee wa riwaya hizo. Muundo huo utafunuliwa kuwa ni duara inayorudia uhai na ufu. Nitajaribu kuelewa muundo huo wa duara kutumia fikra ya mwanafalsafa wa dini, Mircea Eliade, na dini ya Ubudha. / Nagona and Mzingile, written by a Swahili author Euphrase Kezilahabi, have been considered to have the unique narrative style and complex storyline, which make the novels difficult to understand. This article regards these two novels as a single inner-connected story to reveal a hidden structure, which makes the novels unique. This structure turns out to be a cycle which regularly repeats birth and death. I will try to analyse this circular structure by using thoughts of a theologian Mircea Eliade and Buddhism.

Nagona na Mzingile, riwaya za mwandishi wa Kiswahili Euphrase Kezilahabi, zinasemekana kuwa na mtindo wa kipekee wa usimuliaji, na simulizi changamano ambalo si rahisi kueleweka. Makala haya yamezichukulia riwaya hizo mbili kama hadithi moja, na kuchunguza muundo wa fumbo unaosababisha upekee wa riwaya hizo. Muundo huo utafunuliwa kuwa ni duara inayorudia uhai na ufu. Nitajaribu kuelewa muundo huo wa duara kutumia fikra ya mwanafalsafa wa dini, Mircea Eliade, na dini ya Ubudha. / Nagona and Mzingile, written by a Swahili author Euphrase Kezilahabi, have been considered to have the unique narrative style and complex storyline, which make the novels difficult to understand. This article regards these two novels as a single inner-connected story to reveal a hidden structure, which makes the novels unique. This structure turns out to be a cycle which regularly repeats birth and death. I will try to analyse this circular structure by using thoughts of a theologian Mircea Eliade and Buddhism.

Makala haya yanaangazia uhakiki wa usimulizi, mazingira, onomastiki ya wahusika na maudhui katika riwaya ya Paradiso (2005) ya John Habwe kwa kuzingatia madhumuni na kanuni za nadharia ya uhalisia wa kifasihi. Yanaonesha jinsi nadharia ya uhalisia ama uhalisiamamboleo wa kifasihi inavyoafikiana na dhamira ya riwaya ya kukosoa maovu yanayotendeka katika asasi za kidini za Kikristo katika jamii ya leo. Uhakiki huu unadhihirisha yafuatayo: usimulizi wa nafsi ya tatu; upana wa maudhui ya kukosoa matatizo ya kijamii mbali na maudhui makuu ya kukosoa unafiki wa viongozi na waumini wa kanisa; mazingira yenye majina halisi; na uteuzi wa majina ya wahusika kwa kuzingatia vipengele anuwai vya onomastiki. Yote haya yanachangia kuiainisha Paradiso kama riwaya changamano ya uhalisia wa kifasihi. / This article analyses narration, setting, onomastics of characters and themes in the novel Paradiso (2005) by John Habwe by considering the objectives and tenets of the theory of literary realism. It shows how the style of literary realism or neo-realism concurs with the overarching theme and concern of the novel of criticizing misdeeds in religious institutions of the Christian faith in contemporary society. This nterpretation sheds light on the following aspects: third person point of view; a wide thematic array of social critique apart from the main theme of criticising the hypocrisy of leaders and followers of the church; a setting consisting of real-life names; and a diverse choice of characters’ names according to different aspects of onomastics. All these aspects contribute to the classification of Paradiso as a sophisticated novel of literary realism.

The paper focuses on generational conflicts as depicted in four Swahili novels namely: Vuta N’kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini. Generational conflicts depicted in the novels are seen as a contest between tradition and modernity when viewed against the cultural changes that have taken place within the East African societies. Authors have dep-loyed narrative voice and focalization narrative techniques to communicate the implied au-thor’s ideological stance on the notions of tradition and modernity in respect to the conflicting issues captured in each novel. Section two highlights some postulations about the concepts of ‘modernity’ and ‘tradition’. The third section discusses the concepts of generation and generational conflicts while the fourth focuses on narrative voice and focalization as the narrative strategies that reveal gene-rational conflicts portrayed in the four novels. The final section is the conclusion relating the ideological stance of the implied author in relation to the concepts of modernity and tradition.