Submitted in partial fulfilment of the requirements for the Degree Master of Arts in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2001. / Lolu cwarnngo lucubungula impicabadala ngempi yaseNtibane. Kunernibuzo enusa ikhanda mayelana nokwehlulwa kwempi kaZulu ngesikhathi uZulu ebhekene ngeziqu zamehlo namaBhunu ngonyaka ka-1838. Lolu cwaningo luzama ukuthola ukuthi yini ngempela eyenzeka ngalolu suku lena eyabangela ukunqotshwa kukaZulu empini yaseNtibane? Kungabe amasu okulwa ajwayelekile akawasebenzisanga uNdlela? Kungabe kuyiqiniso ukuthi uZulu owasala kule mpi ubalelwa ezinkulungwaneni ezintathu? Kungabe kuyiqiniso uJ...'Uthi umfula waze waphenduka igazi? Vma kuyiqiniso, kungabe elikaZulu kuphela igazi elaphalala? Lena ngeminye yemibuzo okudingeka iphenduleke. Lolu cwaningo luzama ukuthola izimpendulo zale mibuzo kanye neminye ezohambe ivela Kubhekisiswa izindlela ezazisetshenziswa uZulu uma ebutha amabutho, ukwethiwa igama kwebutho, ukwabiwa kwezihlangu ngokwemibala enhlobonhlobo, imvunulo yamabutho, ukuma kwempi kaZulu jikelele, izindlela zokuhlasela kanye nempicabadala ngempi yaseNtibane. Kuyobhekisiswa imihlobiso eyiiigqizo zokunonophala kolimi kulo msebenzi. Lokhu Imyaphuthuma ukuba kwenziwe ngoba kosiza kakhulu isizwe kakhulukazi oSomlando, oSomafa kaZulu, izizukulwane ngezizulmlwane, izivakashi kanye nalabo abasekhaleni lokweluleka abavakashi ikakhulu kwelakwaMthaniya. Lolu cwaningo lunezahluko eziyisihlanu. Isahluko sokugala "isingeniso socwaningo". Amagama asetshenzisiwe kulo rnqulu azohlaziywa kahle ukuze ingqikithi yalokho akushoyo icace. Sibuka izinhloso nentshisekelo yomsebenzi jikelele. Kukhonjwa indlela yokuqhuba ucwaningo kanye nemidiyo yalo. Isahluko sesibili siqondene "nokurna kwempi kaZulu", ukubutha, izihlangu, imvunulo kanye namanoni olirni avela kulokhu.

Submitted in partial fulfilment of the requirements for the Degree Master of Arts in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 1995. / Blose, in the drama Uqomisa Mina Nje Uqomisa IIiba, seems to portray many things, especially love at various levels among people. The idea of love appears to be the central theme of the drama whereby the dramatist shows how different kinds of love are intertwined. The dramatist goes on a step further to unfold the extremes of love when it is blocked and redirected by forces which stand against it. One important aspect that requires a thorough investigation is how blocking and redirection affect individuals and their relationship with the community. 1.2 MOTIVATION OF THE STUDY Blose in his drama Uqomisa Mina Nje Ugomisa IIiba depicts various kinds of love. Among them, there is patriotic love, parental love and love as shown by the behaviour of young people. These kinds of love are somehow intertwined. The analysis will, among other things, investigate the influence of one on another. 1.3 AELD OF RESEARCH The field of research is restricted to the work of Blose, Uqomisa Mina Nje Uqomisa IIiba. Blose is the author of two books, namely Inkondlo KaNobantu and Ugomisa Mina Nje Ugomisa lIiba. The former is a poetry book and the latter is a drama. The field of research is basically in the drama book Ugomisa Mina Nje Ugomisa lIiba. In this book, only the themes of love will be critically investigated, analysed and evaluated.

Submitted in fulfillment of the requirements for the degree Doctor of Philosophy in the Department of IsiZulu Namagugu at the University of Zululand, 1999. / Lolu cwaningo luhloIa isakhiwo kanye nobumqoka bamabubo kanye nezaga kumbe iziqubuIo zesiZulu. KumeIe sithole iqhaza elibanjwe yizaga namabubo ekuthuthukisweni kolimi IwesiZulu. Le ntuthuko yolimi incike nkomo ekusetshenzisweni kwamagarna, amalunga nezinhlamvu ekwakhiweni kwemigqa, imisho kanye namabinza. Kukulolu khalo lapho kutholakala incazelo enobunzulu enothisa futhi inonise izinjulamqondo nezinzululwazi ezisebunkondlweni obufukanyelwa ngarnabubo nezaga. Esahlukweni sokuqala kuvezwa inhloso yalolu cwaningo. Kuvela ukuthi abacwaningi abanakuphumelela kahle hle ukuhlaziya izinkondlo zesimanje uma belahlisa okwenyongo yenyathi isizinda sobunkondlo esisemabubeni nasezageni. Kuyahlaluka ukuthi kulukhuni ukuhlola amabubo nezaga njengengxenye yobuciko bomlomo ngaphandle kokusondeza isiko kanye nomculo. Isakhiwo nobumqoka bamabubo nezaga buqokwe ngoba kubonakele ukuthi yilapho ubunkondlo bezibongo zamakhosi, eziyisizinda sezinkondlo zesimanje buxajelelwe khona. Kunamagama athe phecelezi, enyusa izinga neqophelo lobunkondlo. Kuba yizinkobe esizihlafuna qede kuqine amabamba ukuba kusetshenziswe amagama esiwaziyo ukuze sithole incazelo ethe phecelezi, ebesingayilindele nesingayaziyo. Lokhu kufakazelwa yilesi saga esigama linye: Ntunjambili! Lesi saga asisitsheli ngendawo yaseNtunjambili, nangetshe likaNtunjambili lasezweni loDemane noDemazane. Ngalesi saga uShaka wayesuke ehlose ukuba impi yakhe iguqule indlela yokulwa. Lokho nje, kuyayikitaza ingqondo. Kuba wukudla kwayo okuyenza indize iyokhotha isibhakabhaka. Yehle iyobhukuda otweni oluphehla amanzi ngaphansi komhlaba. UKhumalo, (1993:66) uthi: Wayeyikhuza ngesokuyinqanda noma esokuyishintsha. Wawuzwa ekhuza uNtunjambili. Isahluko sesibili siqondene nesakhiwo kanye nezindikimba ezidingidwa ngamahubo. Isakhiwo samahubo siveza amahubo anesigqi sempi, uthando, nokufa. Umahluko osobala phakathi kwamahubo nezaga wukuthi amahubo ayahutshwa kepha izaga ziyakhuzwa. Ukuhutshwa kwawo kuwanika isigqi esehlukile kwesezinkondlo ezejwaye1ekile. Impimiso, ukudonsa, ukuphakama nokwehla kwephimbo enkondlweni eyejwayelekile akufani nasemahubeni. UNgcongwane, (1974:98) uthi: Die woorde wat gesing word, word gewoonlik nie op dieselfde wyse uitgespreek as wanneer daar gepraat word nie. Sang en praat kan nie dieselfde wees nie, al kan die woorde wat gebruik word nog dieselfde wees. Ubumqoka bamahubo obuvezwa yilesi sahluko, singaqoqeka ngokuba sicaphune uKhumalo, (1993:45): Yuhlobo olunomlando ongumgogodla wesizwe. Yuhlobo lolu oluphethe amahubo esizwe afana nemikhuleko yaso, kanye nawempi. Aphathwa ngesizotha esimangalisayo ngoba kwawona anesizotha. Avusa usinga, amadlingozi nombhejazane eNkosini, emabuthweni kanye nasezweni jikelele ngoba athinta izehlakalo ezimqoka zesizwe esezagcinwa njengomlando. Isahluko sesithathu siqondene nesakhiwo kanye nobumqoka bezaga. Ngokwesakhiwo kutholakala izaga ezimfishane nezinde. Ezageni ezimfishane kukhona ezigama linye, ezingadingi mpendulo kepha impendulo kuba yisenzo njengalezi: Ngadla! Khwishi! Maluju! Ntunjambili! Khumu! Zikhona izaga ezigama linye ezidinga impendulo njengalezi: Inselele! Woz' uyithathe! Rebe! WuSuthu! Ekhanda! Pho! Izaga ezinde zibonakala ngokuba induna isho wnusho bese iviyo liphendula ngomusho kumbe ibinza: Wawuyaphi? Wawuyaphi kwesensimbi, Iyashis' insimbi, Zish' ukhence? Ubumqoka bezaga wukunikeza umfutho namandla okuqukula into esindayo. Ezokweshela ziqunga insizwa isibindi ukuze ingesabi ukuzibika entombini. Ezempi zinika amabutho umhanehu nomqhanagu wokuya empini engasenandaba noma angafa. UKhumalo, (1993:63) uthi: Zikhuzwa ikakhulukazi ezimpini, nasemikhosini eyehlukene yesizwe, ukuvusa amadlingozi, usinga nombhejazane ezinsizweni. Zize zisuse usinga, ziqunge isibindi nje ngoba zakhiwe ngezehlakalo nezigameko zobunzima, zokuhlabana, zobuhlakani, zobunzulu, zokunqoba kwesizwe esithile. Isahluko sesme sithandanisa amahubo nezaga nobuciko kanye nobunyoningco obusetshenziswa yizimbongi ezibongweni zamakhosi. Kuze kube nemigqa equkulwa emahubeni injengoba injalo iyiswe ezibongweni zamakhosi kubuye kuhlanekezeleke. Kukhona amagama asezibongweni zamakhosi, agcina inkosi isibizwa ngawo, ahaywayo uma kuteketiswa inkosi. Lokhu kudalula ukuthi amahubo nezaga kuyingxenye engangatshazwa yobuciko bomlomo. Lokho kufakazelwa wukuxhumana . kolibo lwamakhosi kusuka kuIeyo ebusayo kuze kufike kuleyo eyadabuka oHlangeni. Kulolu lungelunge Iwezizukulwane ngezizukulwane kuyahutshwa, kuyakhuzwa futhi kuyabongwa Isahluko sesihlanu sibeka obala ubunkondlo bamahubo nezaga uma kuvela ukusetshenziswa kwezifengqo kuIo msebenzi wobuciko besizwe. Kuvela isifaniso, isingathekiso, ihaba, ifanamsindo, ukusikisela, umbhinqo, umbhuqo, ukwenzasamuntu kanye nokwenza-sasilwane. Isakhiwo esinongwe ngezifengqo siyolisa ulimi ukuze igama elilodwa emsebenzini wobuciko, likhulume kakhulu kunoma Iibhaliwe. Yile ncazelo enobunzulu eveza isigqizo zokunona kanye nokunonophala kolimi okhalweni lwezifengqo. Esahlukweni sesithupha kuvezwa isakhiwo sangaphandle emahubeni nasezageni. Kuvela amabinza, imigqa, amagama, amalunga, izinhlamvu kanye nezimpawu zokukhanyisa. Kukulolu khalo lapho sithola ukuxhumana, impindwa, imvumelwano kanye nesigqi. Lo mcako wengaphandle lamahubo nezaga awugcini ngokuhlobisa amahubo nezaga, kepha uletha ubunzulu, ukujiya kanye nokunonisa ingqikithi nenkotha yobunkondlo. Esahlukweni sokugcina kuvezwa ukuhlaziywa kocwaningo. Kulolu khalo kucofiywa kubuye kugqanyiswe konke okutholakele ocwaningweni obelwenziwa. Kuvela izincomo ezihambisana nezizathu ezidala kunconywe lokho okuphakanyiswayo. Inhloso yalezi zincomo wukudiliza amavundululu asahlala aze akhela ezinhliziyweni zabantu abafenyisa amahubo kanye nezaga. Esiphethweni kuboshwa onke amaxhama abe yinto eyodwa hnijokujoku esala ilenga iyaboshwa ukuze ithandaniswe nomqulu wonke. Eng = This research explores and analyses the composition and the significance of amahubo and izaga in isiZulu. The objective is to discover the role and the contribution of these two targeted terms towards the enrichment of the Zulu language. This study depends on the general language usage, terminological expansion, syllabification, prosodies, lines and verses found in amahubo and izaga. The semantic applicability of the words enriches the lines and the verses of the war-cries and the war-songs with highly poetic philosophy. The aim of this study is exposed in chapter one. The exposition demonstrates that it is difficult to analyse the modem poetry if the traditional poetry is ignored. The composition and the significance of izaga and amahubo has been chosen for the purpose of this study because it is where the inner core of the traditional praise poetry is embedded. It is difficult to understand the modern poetry if the traditional poetry is overlooked. It is in the traditional praise poetry where the problem of terminological confusion is solved. The words with deeper semantic value uplift the standard of poetry. There is a single-worded-war- cry: Ntunjambili! The above war-cry neither signifies the place of Ntunjambili nor the legendary rock 'Ntunjambili". This was Shaka's war-cry which commanded the regiments to change the strategy of their attack. This is philosophical and it puzzled the minds of the enemies. Khumalo, (1993:66) says: Wayeyikhuza ngesokuyinqanda noma esokuyishintsha. Wawuzwa ekhuza uNtunjambili. (He used the war-cry to command them to stop or change their fighting strategy. You could hear him saying Ntunjambili!) The second chapter concentrates on the composition and the significance of war-songs. It reveals the themes threshed in the war-songs. The rhythm of war, love and death is found. This chapter unfolds the difference between war-songs and war-cries i.e. the war-songs are sung while the war-cries are memorised. The rhythmic music found in amahubo differs from the normal rhythm of the general poetry. Pronunciation and the tonological supra-segmental qualities imposed on syllables is more emphatic in amahubo than in izaga and the normal poetry. Ngcongwane, (1974:98) says: Die woorde wat gesing word, word gewoonlik nie op dieselfde wyse uitgespreek as wanneer daar gepraat word nie. Sang en praat kan nie dieselfde wees nie, al kan die woorde wat gebruik word nog dieselfde wees. The significance of the war-songs as revealed by this chapter can be summarised by citing Khumalo, (1993:45): Yuhlobo olunomlando ongumgogodla wesizwe. Yuhlobo lolu omphethe amahubo esizwe afana nemikhuleko yaso, kanye nawempi. Aphathwa ngesizotha esimangalisayo * ngoba kwawona anesizotha. Avusa usinga, amadlingozi nombhejazane eNkosini, emabuthweni kanye nasezweni jikelele ngoba athinta izehlakalo ezimqoka zesizwe esezagcinwa njengomlando. (War songs have the historical background of the nation. They are the prayers of the nation. Some of them are sung in war. They are sung with dignity because they are dignified. They raise oomph to the king and his regiments. This enthusiasm causes the regiments to go to the battlefield with gusto because war-songs touch the nation's historical events.) The third chapter explores the composition and the significance of the war-cries in isiZulu. This chapter divides the war-cries into two categories, namely, short and long war-cries. The short war-cries are divided into a single-worded-war-cry which does not need an answer such as: Ngadla! (I have eaten!) Sigidi! (A million!) Khwishi! (To arms!) Maluju! (Let us stop fighting!) Ntunjambili! (Change the fighting strategy!) Khumu! (Stop fighting!) There are single-worded-war-cries which need answers: Inselele! Woz' uyithathe! (Let us fight! Let it be!) Hebe! WuSuthu! The long war-cries are characterised by the leader calling a sentence and the answer becoming a sentence or a verse such as: Wawuyaphi? Wawuyaphi kwesensimbi, Iyashis' insimbi, Zish' ukhence? (Why did you go? Why did you attack Nsimbini people, The iron is hot, We hear its sounds when it falls). The war-cries encourage people to lift the heavy loads. They give the young men the zeal and inherent desire to court or propose for love from the ladies. War-cries give the regiments the prowess to fight. Khumalo, (1993:63) says: Zikhuzwa ikakhulukazi ezimpini, nasemikhosini eyehlukene yesizwe, ukuvusa amadlingozi, usinga nombhejazane ezinsizweni. Zize zisuse usinga, ziqunge isibindi nje ngoba zakhiwe ngezehlakalo nezigameko zobunzima, zokuhlabana, zobuhlakani, zobunzulu, zokunqoba kwesizwe esithile. (They are normally used in battles and wars, national ceremonies, to give young men enthusiasm and prowess to fight. This happens because they are composed of the events of hardship, killing, intelligence, philosophy and the proud conquering of a certain tribe.) The fourth chapter links the poetry found in amahubo and izaga with the traditional praise poetry used by the king's bards. Some of the lines are taken as they are from the war-songs to the praises of the Zulu kings and vice versa. There are words that refer to the king's praises in amahubo. This proves that war-songs and war-cries are the part and parcel of the traditional literature or Folklore. The fifth chapter discusses the figures of speech which are sometimes used as imageries. The imagery is found in certain lines of amahubo and izaga. Those are simile, metaphor, hyperbole, paradox and personification. The use of imagery uplifts the standard of poetry as the word in the literary text have more semantic value than as it stands in isolation. The sixth chapter discusses the form of amahubo and izaga. The verses, lines, words, syllables and sound system of the language is discovered. This chapter elaborates on linkages, repetition, refrains, rhyme and rhythm. Chapter seven deals with the findings, recommendations and conclusion of the research.

M.A. / Idioms, sayings and poetry in the Bantu languages are examples of idiomatic usage of language. Idiomatic language or figurative language differ in certain respects from literal or non-figurative language usage. Many studies on proverbs and idioms in Zulu have been published but none have as yet made an in depth study of the linguistic characteristics of proverbs and idioms. A comparison between proverbs and Zulu poetry has also never been attempted. Thorough studies concerning the Sotho languages have been made in this regard. In this study, the linguistic characteristics of Zulu proverbs and idioms are compared to findings made in Northern Sotho and Southern Sotho in order to determine if linguistic peculiarities and other aspects found in the Sotho languages are also present in Zulu proverbs and idioms. Chapter 2 deals with the basic linguistic characteristics of Zulu proverbs. The characteristics are similar to those found in Northern and Southern Sotho. The basic linguistic characteristics include a complete and unchanging syntactical structure. A small number of Zulu proverbs have syntactical differences. In such cases a proverb has been recorded by various writers, each with a difference, mainly in the verb. The variants include changes in verb tenses, the presence or absence of verb extensions and the deletion of the copulative particle.

Submitted in partial requirements for the degree of Master of Arts in the Department of IsiZulu namaGugu in the Faculty of Arts at the University of Zululand, 2006. / Lolu cwaningo lucubungula indlela umfana akhuliswa ngayo esizweni samaZulu nokubaluleka kwakhe. Lubheka imikhutshana eyenziwa kusukela ezalwa ekhula aze eluse, esenga, ebophela, ebuthwa aze abe insizwa lapho eseqomisa. Isahluko sokuqala sizokwethula ucwaningo nenhloso yalo. Kuzovezwa umklamo wocwaningo nendlela ezosetshenziswa ngenkathi kubhekenwe nalo mshikashika. Kuzokwenekwa umlando omfishane ngendlela umfana akhuliswa ngayo esizweni sikaMalandela. Isahluko sesibili sizobheka kabanzi imikhutshana namasiko enziwa mhlazane kuzelwe umntwana womfana. Kuzobhekwa amakhambi agezwa ngawo nezinyamazane ashunqiselwa ngazo. Ukubaluleka kokugcotshwa ngebomvu nakho kuzobhekwa ngeso lokhozi. Luzobheka ngokubanzi umkhutshana wokuklekla, ukuphehla, ukusokwa luze lumgojele lapho esekhula. Isahluko sesithathu sizogxila lapho umfana eselusa noqeqesho aluthola khona. Sizomqala phansi lapho esalusa izinkukhu, sinyuke naye eselusa izimbuzi, aye emvemveni, emankonyaneni, amathole aze afike ezinkomeni. Izifundo ezitholakala ekwaluseni njengolwazi lwezilwane, izinyoni nemithi nakho kuzenhlobonhlobo etholakala ekwaluseni ukungcweka, ukudla iphaphu, nokuciba insema. esebuthwa nalapho eseba udibi. njengokubhukuda, Sizombheka lapho Isahluko sesine sizocubungula uqeqesho umfana aluthola ekhaya. Lapho kuzobhekwa ukusenga, ukuhlinza, ukuhlahlela, ukubophela izinkabi, nokudipha. Indlela yokuvunula sizoyifakela iso lapho ezofundiswa khona ukusika amabheshu nezinene. Ukugawula izintingo umfana efundiswa ukwakha isibaya nakho kuzovezwa. Isahluko sesihlanu sizogxila lapho umfana esengene ebunsizweni, eseqomisa. Sizobheka izingqinamba nemikhutshana ephathelene nokuqomisa. Amakhambi asetshenziswayo ukuze insizwa ibe nogazi ezintombini njengobulawu nakho kuzofakelwa iso. Eminye imikhutshana eyenziwayo ukuzuza intombi njengokunqunda izimbangi ukuyiphonsa, ukuyithwala, ukukhuzela neminye nakho kuzocutshungulwa. Umkhosi wokubonga indaba nawo ngeke wabukelwa phansi. Isahluko sesithupha sizobe sesiyiphothula le mbenge bese sihlaziya lonke ucwaningo siveze namakhambi (izincomo). Imidlalo

Thesis (MA)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: This study focuses on the communicative processes of advice in isiZulu through which people aid each other with problems and stresses of daily life, including ways in which support is communicated. When friends or family members attempt to help one another with stress and problems, they frequently give advice. Within the field of pragmatics, advice is a common but potentially face-threatening response to a friend or a loved one who is upset about a problem. Consequently it is useful to identify ways a speaker may show regard for face in this kind of episode. Advice can threaten the hearer's autonomy by imposing the speaker's authority and solutions on the hearer and it can also imply criticism of the hearer's emotional reaction or handling of the problem. In this study, twenty-one advice topics, by Goldsmith (2000) that can be used in various troubles talk episodes in isiZulu have been examined. It has been found that some advice situations have more topics than others. The situation with more advice topics is the one referred to as personal. This is because people are always very keen to give more advice to people with personal problems than to people with other problems. The situations with the least number of topics are abuse and teachers, because they are very sensitive in nature. The study found that the sensitivity comes from the fact that third parties are involved. People tend to be reluctant to give advice which might lead to confrontation between the parties that are involved. In this research, the parties that are involved are learners on the one side and the parents/teachers on the other side. The other factor is that people do not want to see a parent who is abusing his/her child going to jailor a teacher who does not like a particular child losing his/her job because of the advice they gave to the learners. / AFRIKAANSE OPSOMMING: Hierdie studie fokus op die kommunikatiewe prosesse van advies in isiZulu waardeur mense mekaar help met die probleme van die alledaagse lewe, insluitende die wyses waarop steun gekommunikeer word. Wanneer vriende en familielede poog om mekaar te help met probleme, gee hulle dikwels advies. Binne die veld van die pragmatiek, is advies 'n algemene, maar potensiële gesigsbedreigende ('face-threatening') respons teenoor 'n vriend of geliefde wat 'n probleem het. Gevolglik is dit nuttig om wyses te identifiseer waarop 'n spreker ontsag mag toon vir gesig ('face') in hierdie soort episode. Advies kan die spreker se outonomiteit bedreig deur die spreker se outoriteit en oplossings neer te druk op die hoorder en dit kan ook kritiek impliseer van die hoorder se emosionele reaksie op hantering van die probleem. In hierdie studie word een-en-twintig advies episodes van Goldsmith (2000) wat gebruik kan word in verskillende moeilikheidsgesprekke ('trouble talk') in isiZulu ondersoek. Daar is bevind dat sommige advies situasies meer onderwerpe as ander het. Die situasie met meer advies onderwerpe, is die persoonlike situasie. Die rede hiervoor is dat mense altyd meer gretig is om advies te gee aan ander mense met persoonlike probleme as aan mense met ander tipes probleme. Die situasies met die minste getalonderwerpe is 'mishandeling' en 'onderwysers' omdat dit baie sensitiewe onderwerpe is. Die studie bevind dat sensitiwiteit spruit uit die teenwoordigheid van 'n derde party se betrokkenheid. Mense blyk onwillig te wees om advies te gee wat mag lei tot konfrontasie tussen die partye betrokke. In hierdie navorsing, is die betrokke partye leerders, enersyds, en ouers of onderwysers, andersyds. 'n Verdere faktor is dat mense nie wil sien dat 'n ouer wat 'n kind mishandel na die gevangenis gaan nie, of dat 'n onderwyser wat nie van 'n spesifieke kind hou sy/haar werk verloor, weens die advies wat hulle aan die leerders gee nie.

M.A. (African Languages) / The phonological system of Zulu does not tolerate consecutive vowels in one word while, with specific conditions, only certain consonant combinations and consonant-vowel combinations are permissible. Morphonological adjustments such as glide insertion, vowel coalescence and semi vocalization are therefore utilized to avoid the accumulation of vowels. Where consonants are brought together by morpheme combinations, morphonological adjustments such as nasalization occur to avoid the impermissible consonant groups. Adjustments such as palatalization are the result of the impermissible combinations of certain consonants and (one or more) vowels and/or semivowels. This study aims at analysing some known morphonological phenomena in Zulu from a generative-phonological point of view. It involves mainly the construction and formulation of a number of morphonological rules for Zulu within the framework of the transformational generative (T.G.) phonology. The study is purely introductory and does not claim that all relevant material has been fully analysed and exhausted. The point of departure is that of Chomsky and Halle in their Sound Patterns in English (SPE). Chapter one defines the concept of phonological processes, states the conditions for acceptable phonological rules and supplies definitions of features employed to describe the segments of Zulu. Chapter two identifies the underlying segments of Zulu, i. e. vowels, consonants, "impure" consonants (so-called liquids) and semi-vowels. Characteristics of the underlying segments are presented in a table. Through the formulation of redundancy rules those features of segments which systematically correspond with other features are eliminated and lexical versions of the underlying segments are determined. In chapter three the processes of glide vowel coalescence which relate to insertion, semi vocalization an impermissible series of vowels are discussed and summarized in rules.

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

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

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