School of Arts

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A cross-linguistic analysis of finite rasing constructions.
(2011) Ademola-Adeoye, Feyisayo Fehintola.; Zeller, Jochen Klaus.
This thesis provides and discusses a comprehensive collection of empirical data that show that many languages of the world manifest long A-movement of the subjects of embedded finite clauses to the subject position (Hyperraising) or object position (Hyper-ECM) of the main clause. The main theoretical claim of the thesis is that all these instances of long A-movement leave behind resumptive pronouns and should therefore be analysed on a par with related Copy Raising and Copy ECM constructions. My thesis therefore demonstrates that resumption is not restricted to Abar movement contexts, but is also attested in A-movement constructions. Instead of the various language-particular analyses previously proposed in the literature, the thesis focuses on those aspects of long A-movement that all respective constructions in the different languages have in common and therefore provides a unified crosslinguisic analysis of long A-movement constructions. An important empirical generalisation, first noted by Ura (1994), which is empirically supported by the data discussed in this thesis, is that if a language has Hyperraising or Hyper-ECM, it is also a pro-drop language. On the basis of this generalisation, it is argued that Hyperraising and Hyper-ECM constructions involve the use of resumptive pro in the embedded subject position, while languages with Copy Raising and Copy ECM use overt pronouns. Apart from this difference, it is argued that these Amovement constructions are identical in all crucial respects. Furthermore, it is claimed that agreement inside the embedded finite clauses from which long A-movement takes place is indicative of the ability of embedded T to license nominative case on the embedded subject. Hence, no deviation from standard Minimalist assumptions is required. It is suggested that the role of the resumptive subject pronoun is to receive the case assigned by the probing T-head inside the embedded clause. It is also argued that it is the existence of a resumptive pronoun which causes the coreferential subject DP to be without case, which in turn creates a context in which long A-movement of this DP becomes both necessary and possible. This analysis is based on the idea that at first merge, the raised subject is merged with the null/overt resumptive pronoun in the embedded subject position to form one vii complex constituent (which is known in the literature as a „big? DP). While the pronoun remains in the embedded subject position to absorb the case in the embedded finite clause, the raised subject is attracted into the matrix subject position to absorb the case in the matrix clause.
A man on a galloping horse.
(2010) King, Judith.; Moolman, Jacobus Philippus.; Green, Michael Cawood.
No abstract available.
A syntactic analysis of Kinyarwanda applicatives.
(2005) Ngoboka, Jean-Paul.; Zeller, Jochen Klaus.
"A syntactic Analysis of Kinyarwanda applicatives" is a study of the syntax of Kinyarwanda which focuses on applicatives. Applicatives are constructions in which the object of a preposition becomes the direct object of the verb through a grammatical function changing process. In such constructions, the verb bears a morpheme referred to as the applicative morpheme which turns an intransitive verb into a transitive verb and a transitive verb into a ditransitive verb. The derived object may perform various thematic functions, including those of instrument, beneficiary, goal, manner, reason, purpose and motive. The study provides a thorough description of different types of ditransitive applicatives in Kinyarwanda by examining the syntactic properties exhibited by both objects. In general Kinyarwanda may be classified as a 'symmetrical' language in which more than one object can exhibit direct object properties. This is true for instrumental, benefactive and manner applicatives. However, some applicatives in Kinyarwanda such as the locative applicatives are 'asymmetrical' in that only one object exhibits all the direct object properties. In my research I analyse Kinyarwanda applicatives within the framework of Principles-and-Parameters (Chomsky 1981, 1986a, b and subsequent work), more specifically the Government and Binding theory (Chomsky 1981). I base the discussion on three analyses that have been proposed in the literature of applicatives: Baker's (1988) preposition incorporation theory, Larson's (1988) double object construction analysis and Nakamura's (1997) account of object extraction in applicative constructions, which is based on Chomsky's (1995) Minimalist Program. The study shows that the above analyses account for some aspects of applicatives, but that there are certain facts that are not accounted for, which require a different analysis.
Aantekeninge by Skakering (1991) : 'n omgewingsopvoedingsbenadering tot die gedigteks.
(2001) Motaung, Ruth Mathomane.; Reddy, Vasu.
This article has as focus an environmental education analysis of ten selected poems from the book Skakering (Opperman and Coetzee 1991) to associate the problem of environmental education with the teaching of a humanities subject like Afrikaans, and specifically in the light of the poem as text. It has as its aim the teaching of a genre, to relate in this regard the single text (the poem text) to the environment and environmentally associated problems. In this respect an approach which is aimed at selected texts in Skakering (Opperman and Coetzee 1991) shall possibly accentuate both teachers and pupils' relationship with nature. This article will concentrate on the following: a definition of environmental education as phenomenon which links up the concept ecology, general overview of the important and relevant sources, a theoretical explanation of the concept environmental education, a brief discussion of existing studies that pays attention to the environment and environmental education in the literature, the analysis of the contents of poems that represent certain environmental problems, and an awareness of the pedagogical implications for the teacher. OPSOMMING Hierdie artikel het as fokus 'n ' omgewingsopvoedingsanalise van tien geselekteerde gedigte uit die bundel Skakering (Oppenman en Coetzee 1991 ) om die probleem van omgewingsopvoeding in verband te bring met die onderrig van 'n geesteswetenskaplike vak 5005 Afrikaans. en spesifiek aan die hand van die gedigteks. Oit het as doel die onderrig van 'n genre, om in die verband die enkelteks (die gedigteks) in verband te bring met die omgewing en omgewingsverwante probleme. In hierdie opsig sal 'n benadering wat op geselekteerde tekste in Skakering (Opperman en Coetzee 1991 ) gerig is, beide ondervvysers en leerlinge se verhouding met die natuur aksentueer. In hierdie artikel word op die volgende gekonsentreer: die omskrywing van omgewingsopvoeding as verskynsel wat aansluit by die konsep ekologie, In oorsig van die belangrike en retevante bronne, 'n toeretiese uiteensetting van die konsep omgewingsopvoedingsbenadering, 'n kortlikse bespreking van bestaande studies wat aandag gee aan die omgewing en omgewingsopvoeding in die letterkunde, 'n analise van die inhoud van gedigte wat bepaalde omgewingsopvoedingsprobleme representeer, en 'n bewustheid van die pedagogiese implikasies vir die onderwyser.
Acoustic ambience in cinematography : an exploration of the descriptive and emotive impact of the descriptive and emotive impact of the aural environment.
(2005) Turner, Ben.; Brauninger, Jurgen.
Ambience is deftned by the American Heritage Dictionary as "the special atmosphere or mood created by a particular environment" This definition reveals the ubiquitous and ambiguous identity of acoustic ambience, as "environment" is a broad collective term. Unlike music or dialogue, ambience in film is akin to peripheral vision: once focused upon it loses a collective identity. Yet, there is a means to unravelling the aural atmosphere of a particular environment The solution in defining ambient sound lies primarily in the logical process of eliminating the tangible sound components within the soundtrack of ftlrn. Metaphorically speaking the soundtrack may be seen as a glass jar. The solid rocks placed in the jar are the major components of film: voice, sound effects and music. All other sound is like coloured liquid poured around the rocks. Not only does liquid fill the jar, but also affects the appearance of the rocks. Consequendy we encounter unique practical examples that weaken terminology and provide inevitable exceptions to the rule. The lack of theoretical development in a medium borne in the late nineteen twenties is both mystifying and understandable. Sound is the underdog to visuals, and ambience is overlooked for more recognizable components such as music. Indeed, there are multitudes of books on music and sound effects (impact effects) in film. Ambience however, appears to be advanced in practical application but primitive in theoretical exploration. Exploring sound film holistically has not deterred all theorists. Michel Chion is a pioneer who devises credible terminology with an emphasis on the equality of sound and visuals. Naturally, in a medium rife with subjective interpretation, it is all but impossible to make cut and dry theoretical statements. Chion comments: Of course we must continue to refine and fill in our typology of film sound. We must add new catego~es-not claiming thereby to exhaust all possibilities, but at least to enlarge the scope, to recogmze, define, and develop new areas." [1] This statement outlines the aim of part one. I have drawn on Chion's terminology relevant or related to ambience, as well as defined new areas. The greater part of this research article contains new terminology in cases where no established theoretical identifications relevant to ambience were found. As a reference point, I have created and proposed the following new terms: Ambience as a Cultural Reflector, Ambience as a Musical Trait, Ambience of Indefinite Status, Ambience Recall, Ambient Synchronism, Dual-Perspective Location Indicator, Epic Ambience as Abstract Narrative, Illuminated Sound, Impact Effects, Lexical Ambience, Macro-Contrast and Micro-Contrast, Music as a Hindrance, Ratio of Active or Dormant Diegetic Ambience, Rhythmic Density and Idee Fixe, Source Ambience, and Source Extension. These terms will be explained in part one and illustrated in part two. The terms are significandy applicable to theoretical exploration and are not direcdy intended for a practitioner's utilisation. Unidentified sound components must be discovered in order for analytical insight to expand. This article therefore became an investigation of ambience terminology through necessity owing to the absence of established theory. Part two will demonstrate most of the tangible terms discussed in part one through examples. It seemed more practical to select films that contain at least three constituents of ambience discussed in part one. Two of the films, Blade Runner and 2001:A Space Ocfyssry are recognized as pivotal films for innovative use of sound, and rich source of inspiration for developing new terminology, "Blade Runneris arguably the most famous and influential science fiction film ever made. It has exerted a pervasive influence over all subsequent science fiction cinema, and indeed our cultural perceptions of the future."[2] 2001:A Space Ocfyssry shares similar acclaim, "2001: A Space Ocfyssry (1968) is a landmark science fiction classic-and probably the best science-fiction film of all time."[3] Panic Room and The Fellowship qfthe Ring are contemporary films that both use unique methods in sound design. Naturally, there are hundreds if not thousands of films that would provide further material for theoretical expansion. Within the length limitations of this research article, however, the selection seems equally balanced.
Addressing the "standard English' debate in South Africa : the case of South African Indian English.
(2007) Wiebesiek, Lisa.; Rudwick, Stephanie Inge.; Zeller, Jochen Klaus.
This dissertation is an investigation into the 'Standard English' debate in South Africa using South African Indian English (SAlE) as a case study. I examine the 'Standard English' debate from both a sociolinguistic and a syntactic point of view. Since English underwent a process of standardization in the eighteenth century, the concept of 'Standard English' has influenced peoples' attitudes towards different varieties of English and the speakers of those varieties. 'Standard English' has, since this time, been used as a yardstick against which other varieties of English have been judged. In South Africa, where during the apartheid era, language as well as skin colour and ethnicity were used as a basis for discrimination, the 'Standard English' debate and the standard language ideology need to be explored in order to draw attention to areas of potential discrimination. Through an extended review of the literature on the 'Standard English' Debate and a particular focus on South African Indian English, as well as interviews with South African Indian participants, I investigate how the 'Standard English' debate is, more often than not, a debate about ideology, power and inequality, rather than simply about 'good' or 'correct' language usage. I argue that language attitudes are, in many cases, attitudes towards speakers, making them a potential vehicle for discrimination and prejudice. I examine the social history of the South African Indian community and SAIE and argue that the unique history of the South African Indian community has affected the development of SAlE and attitudes towards its speakers, and the attitudes of speakers of SAlE toward their own variety. Furthermore, I explore how this history has affected the syntactic structure of SAlE and provide, through a syntactic analysis of South African Indian English wh-questions, evidence for the fact that these constructions are formed on the basis of a systematic and rule-governed grammar that is different to that of 'Standard English', but is not, as a result of this difference, incorrect.
Advertising, community radio and mandate : a case study of Radio Maritzburg in KwaZulu-Natal.
(2004) Adhanom, Zerai Araia.; Wade, Jean-Philippe.
In South Africa, community radio is a growing phenomenon and over 100 radio stations have been licensed since the establishment of the Independent Broadcasting Authority. Ever since their emergence, their number has been growing dramatically and they have managed to attract 10% of the radio listenership in the country (NCRF charter). The proliferation and increasing demand for community radio broadcasting in South Africa and elsewhere demonstrates their significance and contribution to the socio-economic and cultural development of society in general, and to communities in particular. Nonetheless, despite their substantial contribution, communjty radios face challenges, especially with regard to resources and finance. As non-profit making institutions, they are funded by donors and subscribers and thus often suffer due to lack of reliable financial resources. The South African National Community Radio Forum (NCRF) states the decline of donor support as the main bottleneck to the proper functioning of community radio stations in the country (NCRF: July 2002). Thus, as with other commercial and public broadcasting stations, community radios in South Africa are expected to incorporate advertising as a source of income to cover some of their expenses without becoming dominated by profit motives. This study takes Radio Maritzburg in KwaZulu-Natal as a case study and attempts to explore the main financial sources of the station and its management. As its main. objective, the research in particular assesses the contribution of advertising as a financial source to the radio station and the way the station attracts advertisements without jeopardizing its mandate.
Aesthetics in African cultural performance : a critical study of Ote'gwu festival among the Igala people in Nigeria.
(2018) Obaje, Ojochogwu Joy.; Madlala, Ntokozo Charity.
The Aesthetics of African cultural performance is predominantly understood through non- African conceptualisations. Notably, such conceptualisations focus on the general analysis of the beauty of art as possessing intrinsic value, meaning and significance. As a result, the notion of African aesthetics has been misunderstood and misinterpreted, since it is subsumed under this general and in most cases Eurocentric conceptualisation. As a point of departure, the current study explores the aesthetics of African cultural performance from an African perspective. It focuses specifically on the celebration of Ote’gwu festival among the Igala people in Kogi State, Nigeria, providing a perspective of the aesthetics of African cultural performance through an analysis of this cultural festival. The study interrogates the various facets and elements of the Ote’gwu festival with the view to identify and analyse the aesthetics perception in an African cultural context. This study is qualitative in nature and adopts an exploratory research design. The research sample comprised of fourteen purposively selected interview respondents. Primary data was generated through semi-structured interviews, which was adopted as it facilitates access to deeper probing of the respondents in the effort to elicit a deeper response from the interviewees towards answering the research questions. Additionally, the researcher adopted a process of reflexivity/positionality to make explicit the researcher’s biases, values, identity and location in relation to the study and the ways these could impact the findings and analysis. Collected data were thematically analysed. The study shows that African cultural performance encapsulates various functions and values including religious, social, moral and economic values. These functions and values inform the aesthetics of African cultural performance. This shows that the aesthetics of African cultural performance have great-bearing on the life cycle of African peoples. African cultural performances are meant to appease or elicit favors from the ancestors. Also, it is evident from the study that African aesthetics does not exist as “art for art’s sake” but as “art for life’s sake”. Such performances hinge on human cultural realities and experiences of the environment. The study concludes that an Afrocentric aesthetic theory is of significant relevance in the study of African aesthetics.
Africa in travel journalism : a postcolonial comparative study of the representation of Africa in the travel magazines Getaway, Africa geographic and Travel Africa.
(2010) Dickinson, Ian.; Moodley, Subeshini.
My research examines how Africa is represented within the meaning-making arena of travel journalism specifically focusing on the travel publications Travel Africa, Getaway and Africa Geographic. The principal focus for many postcolonial theorists is the (mis)representation of “less-developed”, “third-world” countries, often focusing on literature in the creation and maintenance of structures of discursive oppression. I have used the work of postcolonial theorists Said (1978), Spurr (1993) and Pratt (1992) to form the theoretical foundation of my analytical framework. A discourse analysis of the magazines for the years 2006 and 2007 reveal Africa to be a discursively constructed cultural package. Touristic understandings of what constitutes ‘real’ African experiences are underpinned and portrayed through eloquent and articulate descriptions or imagery which interpellates the prospective Western traveler. To borrow Spurr’s (1992) terminology Africa is portrayed as ‘absence’ metaphorically or through the rhetorical strategy of negation in an attempt to create a void which can only be filled through intervention by ‘the civilized’. However, in addition to this, the magazines offer active systematic proposals to foster change and appeal to audiences to trans-code representations, a notion that postcolonial theorist Elfriede Fürsich (2002) has discussed in studies focusing on television travel journalism. I am arguing that in some instances the travel journalists in these magazines challenge conventional, traditional journalistic practices in order to create more balanced representations of the African continent. It is these forms of writing that can harness social change and represent African people, places and politics in alternative depictions. These strategies may include various narrative or linguistic techniques such as an altering of the conventional, commercial travel discourse, or an increased and liberated feedback loop between the publication and its readers.
African Jerusalem : the vision of Robert Grendon.
(2007) Christison, Grant.; Woeber, Catherine Ann.
This thesis discovers the spiritual and aesthetic vision of poet-journalist Robert Grendon (c. 1867–1949), a man of Irish-Herero parentage. It situates him in the wider Swedenborgian discourse regarding African ‘regeneration’. While preserving the overall diachronic continuity of a literary biography, it treats his principal thematic preoccupations synchronically. The objective has been to show the imaginative ways in which he employs his rich and diverse religio-philosophical background to account for South Africa’s social problems, to pass judgement upon the principal players, and to point out an alternative path to a brighter future. Chapter 1 looks at Emanuel Swedenborg’s mystical revelations on the heightened spiritual proclivity of the ‘celestial’ African, and the consequences of New Jerusalem’s descent over the heart of Africa, which Swedenborg believed to be taking place, undetected by Europeans, around 1770. It also examines how those pronouncements were received in Europe, America, and—most particularly—in Africa. Chapter 2 examines the circumstances surrounding Grendon’s birth and childhood in what is today Namibia. It takes note of a family tradition that Joseph Grendon married a daughter of Maharero, a prominent Herero chief, and it looks at Robert Grendon’s views on ‘miscegenation’. Chapter 3 deals with Grendon’s schooling at Zonnebloem College, Cape Town. Chapter 4 describes his cultural, sporting, and political activities in Kimberley and Uitenhage in the 1890s, bringing to light his editorship of Coloured South African in 1899. It also considers his conception of ‘progress’. Chapter 5 looks at some early poems, including the domestic verse-drama, ‘Melia and Pietro’ (1897–98). It also contextualizes a single, surviving editorial from Coloured South African. Chapter 6 treats Grendon’s tour de force, the epic poem, Paul Kruger’s Dream (1902), as well as his personal involvement in the South African War, and his spiritualized account of the ‘Struggle for Supremacy’ in South Africa. Chapter 7 relates to Grendon’s fruitful Natal period, 1900–05: his headmastership of the Edendale Training Institute and of Ohlange College, and his editorship of Ilanga’s English columns during the foreign absence of the editor-in-chief, John L. Dube, from February 1904 to May 1905. Chapter 8 analyzes some of the shorter and medium-length poems written in Natal, 1901–04. Chapter 9 is a close examination of the poem, ‘Pro Aliis Damnati’, showing its Swedenborgian basis, and how it dramatizes Swedenborg’s concept of ‘scortatory’ love. Chapter 10 describes Grendon’s early years in Swaziland from 1905. Chapter 11 deals with his period as editor of Abantu-Batho in Johannesburg, 1915–16. Chapter 12 describes his last years in Swaziland, and his relationship with the Swazi royal family.
The African languages in South African education 2009–2011.
(Cambridge University Press., 2012) Wildsmith-Cromarty, Rosemary.
No abstract available.
Afrikaans alternative popular music, 1986-1990: an analysis of the music of Bernoldus Niemand and Johannes Kerkorrel.
(1992) Smit, Brendan.
No abstract available.
Afro-American folklore and its presence in George Gershwin's "Porgy and Bess".
(1993) Timothy, Chloe Desiree.; Brubeck, David Darius.
This is a detailed study of Afro-American folklore and its presence in George Gershwin' s Porgy And Bess. The study concerns itself with the historical, spiritual, analytical and sociological aspects of the opera. Negro traits are explored from their environments to their lifestyle, from their folklore to their underlying values and traditions. The first chapter is entitled 'TOWARDS A DEFINITION OF FOLK'. Before even discussing Afro-American folklore, the meaning of 'folk' or 'folklore' needs to be established. What is most important about 'folk music' is that it is learnt through oral tradition. Among its many functions are accompanying activities, narrations or dance music. There are certain musical styles which are characteristic of folk music; this comprises the text, melody, harmony, form or singing style. The most common folk instruments used are shared with the world's simplest tribal cultures. It is history that makes folk music. A community which behaves in a certain way today, makes history tomorrow, and this is 'folk'. Chapter Two entitled 'AFRO-AMERICAN FOLKLORE', discusses Black music that developed in the U.S.A. after the Africans were imported to America as slaves. They created their own music, which included work songs, field hollers, spirituals and the blues. Their music had certain characteristics where melody, harmony, singing styles, group singing, handclapping and percussive effects were concerned. The third chapter entitIed 'THE PRESENCE OF AFRO-AMERICAN FOLKLORE IN PORGY AND BESS', is an analysis of the music. The folk elements of the opera are exposed and then aligned to the Negro lifestyle discussed in the previous chapter. Chapter Four entitled 'A SOCIOLOGICAL APPROACH', discusses white 'folk' teaching Black 'folk' how to do what they do naturally. The views of the performers, the criticism of the press and the reaction of the audience are also included. The appendices comprise two interviews; one with the original 'Porgy' and the second with the original choral director of Porgy And Bess, who claims to have translated the dialect of standard English into a negro style flavour.
Against overt particle incorporation.
(University of Pennsylvania. Department of Linguistics. Penn Linguistics Club., 1997) Zeller, Jochen Klaus.
No abstract available.
AILA Africa Research Network Launch 2007 : research into the use of the African languages for academic purposes.
(Cambridge University Press for British Council and National Centre for Languages., 2008) Wildsmith-Cromarty, Rosemary.
No abstract available.
The Alice books - an imaginative testimony to a child's experiences of socio-cultural norms of the late Victorian age.
(2004) Evans, Katherine.; Bizley, William Henry.
Introduction: Alice in Wonderland is perhaps the most renowned fantasy book for children. Over and above this though, it has relevance for adults. People too often dismiss it as purely escapist reading, a means to escape from the monotony of everyday realism by delving into the realms of fantasy. Many critics propose that it operates on more than one level and I would have to agree - it is a pioneer of children's literature as well as a product and critique of the Victorian age. It is a story that has captured the world's imagination, with vivid characters and exciting adventures. The sequel, Through the Looking-Glass, although not as well known, equally offers an insight into the late nineteenth-century. I intend to explore the many layers found in these stories, and hope to expose them as being more than mere narratives, but as pieces of literature that thrive because they are so cleverly constructed Perhaps also their success lies in that they deal with the universal theme (for children and adults alike) of making sense of the seemingly nonsensical aspects of life and society. The stories, as well as the strange characters and happenings, are reminiscent of the Absurdist genre in drama, in which the objective is to turn the world upside down, so to speak, in order to understand people and society. My dissertation will begin by exploring the literary trends of children's books prior to 1865, in other words, before Alice in Wonderland was published. I intend to present an overview of Victorian and pre-Victorian children's fiction, tracing the development of the story for teaching and religious instruction, up until the time when the story was liberated to be simply the vehicle for pleasurable recreational purposes. Thus my opening chapter is an exploration of the didactic children's literature that dominated the early nineteenth century, examining the educationalists that helped expand the genre of children's literature. Next, I will include a brief biography of Lewis Carroll. It is important to my overall theme in that a biography sums up, in one human centre, the forces at play in Victorian sensibility. As a modern audience, we seem to seize upon the idea of his 'character', desperately attempting to understand what motivated him to write such tour de force stories. The interest for me at this point is to examine how academics have portrayed Carroll's 'character'. The motive behind this section is to beg the question of whether his complex personality affects our reading of the texts, or whether they can be seen as entirely separate from a life to which some scandal has been attributed. In the remainder of my dissertation, I shall focus on how the texts are a reflection of a typical Victorian child's experiences, and discuss how Alice 'grows' as a character, and what she reveals about her society in the process of discovering how she should define herself. Alice is the vehicle for Carroll's subversive commentary about his society, and her experiences in Wonderland and Looking-Glass land are often rooted in the undermining of conventional behaviour and traditions. Lastly, I will examine Carroll's stylistic organization of the narratives, paying particular attention to his treatment of time, dreams and language in the texts. I will discuss what his intentions are in creating 'nonsense that makes sense', as well as what this 'nonsense' discloses about the society he lived in and the values he seems to object to.
Alternative cultural practices in drama studies : an exploratory study.
(1992) Hoosain, Mohamed Faruk.; Tomaselli, Keyan Gray.
Traditional drama teaching focuses on the training of students as potential interpretative actors or students-as-technicians. Alternative drama practices emphasise the student-as-social activist. The value and function of using critical theory to get children to shape fundamental social change is discussed. In this scheme, children are taught how to use theatre techniques to experientially explore how the controlling social forces in technological societies undermine national, regional and local democratic processes. The Schools Theatre for Development Projects with their Discussion and Action Teams, which I discuss, serve to enrich school pupils' self confidence at being critical. The problematic of what development entails and whose interests it serves is critiqued. For this reason children are provided with rehearsal in a pre- adult political arena and taught how to construct politics rather than consume a reified notion of politics. If this is to occur, then curriculum development has to be school-based rather than centralised. Teachers are advised to perceive knowledge as anchored in, and extracted from, social reality, especially that of their pupils. Mindful of the process of contextualisation, facilities in raising the child's political literacy and taking reflective social action need to be provided within schools. A case study focusing on an anti- racism project evaluated the potential strengths and challenges that a Theatre for Development in school presents. This program focuses on how the children of Indian House of Delegates administered schools in Durban can confidently mount a programme of social action or collective challenge against apartheid. Ultimately, a syllabus which draws on the case-study is devised which unpacks procedure, evaluation and political practices.
An analysis of contemporary IsiZulu performance poetry.
(2019) Myeni, Gladness Bongephiwe.; Sibiya, Nakanjani Goodenough.
Poetry is the most basic and profuse form of emotive expression in Africa. The African manifests feelings through an outburst of song or poem when he loves and when he hates, when he works and when he plays, when he is in peace and when he fights, when the child is born and when death takes its toll. Poetry should be understood as a part of ongoing sets of aesthetic traditions, acts of distinction, and values. These are recognizable genres of expression (in either the ways they actively align, reject, or refigure received traditions of use).This study is an analysis of thematic distribution and poetic features in isiZulu performance poetry and also seeks to explore its socio-linguistic impact in the society. An ethnographic methodological approach was employed in this study. Data collection involved use of interviews, voice recordings and observations of the performance sessions. This is informed by two complimentary theories that served as the theoretical framework. Firstly Bourne (2001) and Tolstoy’s (2001) expressive theory of arts was used as a background theory to provide benchmarks to the understanding of the main aim and appreciation of performance poetry. Secondly, the study used Hyme’s (1981) ethnopoetic theory, where ethnopoetics is concerned with composition in the course of performance. Ethnopoetics is the study of the ways that narratives are structured into “lines” and are thus poetic (Hymes, 1981). The findings demonstrate that most of the poems studied in this research dwelt much on the theme of love but without necessarily ignoring other issues such as women and child abuse, corruption and many other social ills. The researcher also discovered that isiZulu contemporary poetry employs unique linguistic elements in its expression of the diverse thematic issues. Code-mixing or code-switching and borrowing seem to be getting more attention in the composition of performance poems. = Izinkondlo e-Afrika ziyinto elula kakhulu neyindlela ejulile yokuveza imizwa. Abantu abangama-Afrika bakhombisa imizwa ngengoma noma ngenkondlo uma bethanda, bezonda, besebenza noma bedlala, uma benokuthula noma belwa, uma kuzelwe ingane noma kuvele isifo. Kumina izinkondlo zibukeka ziyizixazululo eziwusizo, ezingabukwa njengezingxenye zezinhlanganisela zobuhle besiko, izindlela zokuhlukanisa namazingakuphila. Lezi izinhlobo ezivamile zokuveza imizwa (okungaba izindlela abazihlanganisa ngokunamandla, bazinqabe, noma baphinde bazibhekisise izindlela ezitholakele zokusebenza). Lolu cwaningo luhlaziya izinkondlo zesiZulu ezihaywa bukhoma zesimanje. Lolu cwaningo luhlose ukubuyekeza ukwabiwa kwezindikimba zezinkondlo zesiZulu ezihaywa bukhoma. Okwesibili, ukuhlaziya izici noma iminxa zobunkondlo emkhakheni omusha wezinkondlo zesiZulu, bese luphetha ngokuphenya umthelela walo mkhakha omusha wezinkondlo sesiZulu emphakathini. Kulolu cwaningo kusetshenziswe ikhwalithethivu egxile empilweni yabantu namasiko abo (ethnographic methodological approach) njengendlela yokuqhuba ucwaningo. Ukuqoqwa kolwazi kubandakanya, izingxoxo, amazwi aqoshiwe kanye nokuhlaziywa kokwenzeka kwezinto zinjengoba zinjalo. Lokhu kusekelwa izinjulalwazi ezimbili ezihambisanayo njengesisekelo socwaningo. Okokuqala, injulalwazi yokuzwakalisa imizwa yobuciko (expressive theory of arts), eyethulwa nguBourne (2001) noTolstoy (2001) njengomgogodla oyisizinda sokwazi inhlosongqangi yezinkondlo nokuhaywa kwezinkondlo zeshashalazi. Okwesibili, injulalwazi eqopha imibhalo wezinkondlo ezihaywa ngomlomo (ethnopoetic theory) kaHyme (1981), lapho le njulalwazi egxile esakhiweni senkondlo ngenkathi yenziwa. I-ethnopoetic iyisifundo sezindlela zokuhlela okudluliswayo kube imisho kanye nobunkondlo (Hymes, 1981). Ulwazi olutholakele luveza ukuthi izinkondlo eziningi ezikulolu cwaningo zigxile kakhulu endikimbeni yothando. Ngale kwalokho, kongoti bezinkondlo, osonkondlo noma izimbongi babuka uthando njengengxenye yempilo ehlukile kodwa kuya ngendlela imbongi ngayinye eqonda ngayo izindaba zothando. Umcwaningi uphinde wathola ukuthi izinkondlo zesimanje zisebenzisa izingxenye zolimi lapho ziveza okuthile ezindikimbeni ezahlukahlukene. Ukuxutshwa kolimi nokuboleka kwezinye izilimi kudla umhlanganiso uma kukhiqizwa izinkondlo zeshashalazi.
An exploration of how word choice and framing contribute to agendasetting in the reporting of gender-based violence in three KwaZulu-Natal community newspapers (November 2021 to December 2022)
(2023) Mangoro, Munyaradzi.; Scott, Claire.
This study primarily concerns how word choice and framing contribute to agenda-setting in reporting gender-based violence (GBV) in three KwaZulu-Natal (KZN) community newspapers from November 2021 to December 2022. Three weekly English community newspapers, namely, Zululand Observer, Maritzburg Echo and South Coast Sun, were purposively selected and provided the data for this study. The key objectives of this study were to look at descriptive and emotive words used in the GBV-related articles posted by the three publications; to determine if any changes occurred in the framing of articles during the 16 Days of Activism campaign period of November to December 2021 and November to December 2022, and to determine how word choice and framing prioritised the issue of GBV in terms of the media agenda setting. This study was guided by framing theory. A mixed-method research approach was used to collect and analyse the data. Quantitative content analysis was used to tally all GBV-related stories published during the period of study and to record all descriptive and emotive words used in these stories. Qualitative thematic analysis was used to group these words according to similarities and connotations to identify emerging themes on GBV. Because GBV is an issue that comes out of the private into the public sphere through being reported in community newspapers and other media platforms, it is important for this study to look at word choice and framing and, for this reason, initiate future debate on media responsibility when reporting on GBV. Looking at national stats-to-story-frequency and priority ratio, findings indicate that GBV was not given priority in the publications under review. Overall, 42% of all the GBV-related stories discussed in this study were posted during the two 16 Days of Activism time periods discussed. This indicates an outstanding visibility of GBV-related stories compared to the rest of the study period. Lastly, literature on GBV and the media in South Africa is very broad, but the study of word choice in the media, especially community newspapers in South Africa is yet to be thoroughly explored through research. This study acknowledges literature on analysing discourse around GBV in the South African media, that has been done by scholars such as Kulne Oparinde & Rachel Matteau Matsha, Floretta Boonzaier, Peace Kiguwa, Nechama Broodie, Amanda Gouws, Nicky Falkof and Mille Phiri, just to mention a few. The study of word choice needs attention as it is critical in understanding, significantly reducing and possibly eradicating GBV. This study suggests that the three publications need to increase the salience of GBV stories by dedicating more space to such stories weekly. Equivalency framing in the use of descriptive and emotive words is encouraged, as they are eye-catching, appealing and interesting to the readers.
Analisis de los mecanismos orales que han asegurado la conservacion del romancero en Colombia con referencia especial a las colecciones hechas por G. Beutler, G. de Granda, F. Dougherty y G. Hersalek.
(1997) Hersalek, Gloria.; Sienaert, Edgard Richard.
The thesis is a description and analysis of the oral style devices on four collections undertaken by G.Beutler, G. de Granda, F. Dougherty and G. Hersalek in Colombia. Themes and their transmitters are analysed. Oral features such as formulas, the uses of repetition and parallelism as well as variability are explored in individual chapters which are illustrated with Colombian texts. The thesis consists of an introduction to the theme of the Oral Spanish Balladry and its collections; a summarized description of the primary sources; an annotated transcription of our compilation of texts in the department of Boyaca and five chapters of analysis and description of oral style mechanisms. Charts showing the themes collected in Colombia and the number, gender and age of its repositories are included. Maps indicate the departments in Colombia where those themes were found. Graphs have the purpose to show a clearer perspective on the distribution of the Spanish Balladry in Colombia, thus, offering a guide for new researchers. This analysis shows that the Colombian transmitters have made use both of the oral style devices inherited from Spain as well as their own initiative that has produced innovations at different levels in this tradition.

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