Submitted in fulfilment for the degree Master of Arts in the Department of IsiZulu namaGugu in the Faculty of Arts at the University of Zululand, 2009. / Lolu phenyo luzama ukuveza ubunkondlo obutholakala ezithakazelweni zesiZulu. Kulolu hlobo lwezinkondlo okuyizithakazelo sithola ukujiya nokusetshenziswa komqondo okunzulu.Phela izithakazelo zithathwa njengomkhuleko kuleso sibongo kanti futhi izithakazelo ziqukethe umlando wokhondolo lokuzalana kuleso sibongo. Yizona ezihlanganisa uZulu wanamuhla noZulu wayizolo. Lolu phenyo ke luyozama ukuveza ukuthi izithakazelo azisetshenziswa kuphela lapho kubingelelwana, kukhulekwa, kukhongwa noma ubonga okuthile okuphiwayo noma ubonga okuthile okwenzelwe ngulowo muntu. Kodwa lolu phenyo luyozama ukukhombisa ukuthi izithakazelo zijiyile kunalokho zinobunzulu kanye nezimpawu zobunkondlo. Yingakho lolu phenyo kufanele luzame ukuveza lobu bunkondlo nobunzulu obutholakala ezithakazelweni. Lolu phenyo luyozama futhi ukuveza ubunkondlo obukhona ezithakazelweni kumazinga ahlukahlukene. Izinga lokuqala ukuveza isakhiwo sangaphandle. Izinga lesibili ukuzama ukuveza isakhiwo sangaphakathi. Izinga lesithathu ukuzama ukuveza ubunkondlo obusezingeni eliphezulu obubonakala bukhona ezithakazelweni. Lolu phenyo luzobuye luveze izinhlobo zezithakazelo ezikhona esiZulwini. Lolu phenyo luyophethwa ngokuba lethule izihlaziyo kanye nezincomo eziyosiza abanye abahlaziyi nabacubunguli kulo mkhakha wobuciko bomlomo.

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

Submitted to the Faculty of Arts in fulfillment of the requirements of the Honours Degree in the Department of African Languages at the University of Zululand, South Africa, 1997. / Lolu cwaningo luhlose ukukhanyisa ukuthi ubunkondlo butholakala kanjani enkondlweni. Luzophawula ngezinyathelo ezithathwa umhluzi uma ehluza inkondlo. Lolu cwaningo luzobheka nokubumbeka kwengaphandle lalezi zinkondlo ezilandelayo : Inhlekelele YaseCoalbrook, Sithi Halala, Kuyona Ie ngabadi. Luhlose ukuveza izinto ezithatha amehlo abafundi. Igama elithi izinto liqondise ezigabeni ezakha inkondlo. Uma uzibheka zibunjwe ngezindlela ezahlukene. Libuye liqondise emigqeni eyakhe inkondlo. Le migqa yakhiwe ngenani elahlukene lamagama. Uma weqisa amehlo esakhiweni salezi zinkondlo, uthola ukuthi izinhlamvu ezakhe amagama nazo zehlukene ngamanani. Ekujuliseni amehlo uyakubona ukuvumelana nokuxhumana komsebenzi wale mbongi.

No abstract available. / Thesis (M.A.)-University of Natal, Durban, [1959?]

It occured to me that scholars who undertake to explore praises in Zulu have centred much analysis on praises of human beings and very little on those of domestic animals. Domestic animals are very close environmental company to any Black person in South Africa, especially to those who reside in farming areas. This study demonstrates that the domestic animal merits praise because it constitutes a kind of relative and colleague to a Black person. The first chapter gives a general layout of those to follow. What one has to note in the first chapter is the assessment of the extent to which scholars have made studies towards assessing praises of domestic animals. To be more precise, about six books have been identified containing some gleanings on the praises of domestic animals . This scarcity of documented sources for these praises together with the fact that praises of domestic animals are still mainly part of oral tradition constitute the main reason prompting this study. Chapter Two analyses hopefully in depth the social aspect of praises of domestic animals. We deduce from the numerous facts emerging from the inter-relationship between owner and animal that the main reason for the existence of the praises in question, is to forge links that bind poet and animal together. Aspects discussed in Chapter Two are, among others, the purpose of praising which examines the effect of praises on both the animals themselves and the community at large. The chapter also looks at the various poets in this field, the occasions during which domestic animals are praised, and the kind of audience anticipated when praising these animals. Though almost all the poets in this regard are wholly nonliterate, the praises they compose are nevertheless rich in literary constructions. They decorate the praises with all sorts of poetic expressions. One may even imagine that the praises of domestic animals were composed by modern learned poet who composed them by transcription and had all the skills to adopt the most impressive literary forms. Chapter Four sums up the role of praises of domestic animals on society as well as the literary richness that the praises possess. On the other hand this chapter Four is also to be taken as the summary and distillation of the previous ones. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 1992.

This study attempts to offer a reading of Msimang's poetry from the perspective of deconstruction. In this course it is necessary to introduce and elaborate on certain deconstruction strategies. This is mainly effected in the second chapter, where consideration is given to diachronic and synchronic perspectives on deconstruction. However, not all the ramifications of the various radical insights offered by deconstructive approaches into the various fields are explored, only the significant texts by mainly French theorists and their American disciples are investigated. Secondly, this study seeks to show that the Zulu poems under consideration are highly amenable to a deconstruction reading. This thesis examines the various practices to absorb, transform, and integrate deconstruction and to make the theory applicable as a critical method within the African languages critical environment. In the third chapter, I am chiefly concerned with the claim that a text never has a single meaning, but is a crossroads of multiple ambiguous meanings. Explaining the historical context, the interdisciplinary scope, and the philosophical significance of Derrida' s project are explored in the fourth chapter. Language has no determinate centre nor any retrievable origin or truth. Belief in such is no more than nostalgia, says Derrida. What actually exists is a complex network of differences between signifiers, each in some sense carrying the traces of all others. With psychoanalysis in the fourth chapter, the focus is not on the differences between the deconstructive and psychoanalytic critics, but on their shared assumption that works ofliterature are in some sense indeterminate. These properties lead to the sixth chapter, which deals with intertextuality according to Derrida, Barthes and Bloom. The seventh and last chapter is the general conclusion in which main observations are summarized and important aspects highlighted. Finally, this thesis attempts to illustrate why the deconstructive procedure of analysing texts in such a way as to explicate their partial complicity with the theory, makes this deconstructive reading of Msimang' s poetry possible. / African Languages / D.Litt. et Phil. (African Languages)

This study attempts to offer a reading of Msimang's poetry from the perspective of deconstruction. In this course it is necessary to introduce and elaborate on certain deconstruction strategies. This is mainly effected in the second chapter, where consideration is given to diachronic and synchronic perspectives on deconstruction. However, not all the ramifications of the various radical insights offered by deconstructive approaches into the various fields are explored, only the significant texts by mainly French theorists and their American disciples are investigated. Secondly, this study seeks to show that the Zulu poems under consideration are highly amenable to a deconstruction reading. This thesis examines the various practices to absorb, transform, and integrate deconstruction and to make the theory applicable as a critical method within the African languages critical environment. In the third chapter, I am chiefly concerned with the claim that a text never has a single meaning, but is a crossroads of multiple ambiguous meanings. Explaining the historical context, the interdisciplinary scope, and the philosophical significance of Derrida' s project are explored in the fourth chapter. Language has no determinate centre nor any retrievable origin or truth. Belief in such is no more than nostalgia, says Derrida. What actually exists is a complex network of differences between signifiers, each in some sense carrying the traces of all others. With psychoanalysis in the fourth chapter, the focus is not on the differences between the deconstructive and psychoanalytic critics, but on their shared assumption that works ofliterature are in some sense indeterminate. These properties lead to the sixth chapter, which deals with intertextuality according to Derrida, Barthes and Bloom. The seventh and last chapter is the general conclusion in which main observations are summarized and important aspects highlighted. Finally, this thesis attempts to illustrate why the deconstructive procedure of analysing texts in such a way as to explicate their partial complicity with the theory, makes this deconstructive reading of Msimang' s poetry possible. / African Languages / D.Litt. et Phil. (African Languages)

This study explores nature as a source of inspiration in Zulu poetry. With the exception of the introductory and concluding chapters all chapters are structurally similar. Each chapter consists of an introduction, communication of meaning, elements of poetry employed to communicate meaning, types of poems and observations and conclusion. Chapter 1 deals with the aim of the study, definition of terms, motivation, delimitation of scope of study and research methodology. Chapter 2 discuses poetry of the period between 1935 and 1945. Chapter 3 looks at poetry of the period between 1946 and 1955. Chapter 4 deals with poetry of the period between 1956 and 1965. Chapter 5 investigates poetry of the period between 1966 and 1975. Chapter 6 focuses on observations and conclusion. / African Languages / MA (African Languages)

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

This study aims to do a comparative analysis of the historical depiction of the Zulu kings namely: King Shaka, King Dingane, King Mpande and King Cetshwayo. In this study comparison is drawn between Dhlomo's historical novels and Nyembezi 's anthology of praise poetry. This research is based on Interpretive paradigm because it emphasizes a need for in-depth reading and analysis of the oral presentation. That is why qualitative research methodology has been employed because it has allowed the researcher to analytical skills on the content and interviews with community members. In the analysis of these books; the researcher read; interpreted, compared and contrasted the contents thereof. In the researchers comparative study; the researcher discovered that there are some similarities and differences of content in the historical novels and praise poetry writings. This research examined the publication (relevant to this study) written by other authors about Zulu kings (these as deemed relevant for this research). The study went on to verify authenticity around the contents of praise poetry regarding these kings. Structured interviews were arranged and conducted; wherein it emerged that most of king Shaka's, king Dingane's and king Mpande's history has somewhat faded from the interviewee's memories. A lot of information was gathered around king Cetshwayo. This study also revealed that most of Zulu king's history is somehow distorted.Theories of Post-Colonialism and Orality were greatly employed during this research. Post-Colonialism theory was deemed relevant because most of these writings were done after the Zulus had been robbed of their land. Since praise poetry is oral art; an oral historian had to be consulted to emphasize the rich heritage contained in orality or oral art. It clearly emerged from this research that there is a lot of deliberate distortions of Zulu kings' history. This distortion is not only by Whites but also some Black African writers who still continue distorting the kings' history. It is suggested that there be a revisitation and rewriting of the Zulu kings' history and this be done taking into consideration past writings and interviews with knowledgeable historians. A lot of knowledge is contained in this thesis that can be helpful to all and sundry interested in historical writings and other literary genres. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2008.