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Dhima za Vibainishi Vioneshi katika Kiswahili Sanifu
Get PDFMakala haya yamechunguza vibainishi vioneshi katika lugha ya Kiswahili ili kubaini dhima za vibainishi hivyo. Lengo hasa likiwa ni kudhukuru dhima za vibainishi vioneshi ambapo mara nyingi wataalam huelezea dhima moja ya vibainishi ambayo ni kuonesha masafa ya ukaribu au umbali. Data za makala haya yalikusanywa maktabani kutoka katika matini za vitabu vya Kichwamaji (Kezilahabi, 1974) na Kivuli Kinaishi (Mohamed, 1990). Mbinu iliyotumika ni usomaji wa maandiko na kunukuu madondoo yanayohusiana na dhima za vibainishi vioneshi. Data hizo zilichambuliwa kwa mbinu ya maelezo. Nadharia ya Mofolojia Leksika iliyoasisiwa na Kiparsky (1982) ilitumika. Kwa muhtasari, matokeo ya utafiti huu yanaonyesha kwamba vibainishi vioneshi vina dhima mbalimbali ikiwa ni pamoja na dhima ya kuonesha mahali, dhima ya kuhimiza, msisitizo, kuunganisha na kuonesha umbali au ukaribu wa kitu. Makala haya yanapendekeza kwamba, utafiti mwingine ufanyike katika aina zingine za vibainishi ili kupata maarifa majumui kuhusu dhima za vibainishi hivyo katika lugha ya Kiswahili. Pia, utafiti unaweza kufanywa kuchunguza dhima za vibainishi katika lugha mbalimbali za Kibantu ili kuona namna dhima zinavyoweza kutofautiana na/au kufanana na zile za lugha ya Kiswahili
Nihilism and Postproverbials in Euphrase Kezilahabi’s Poetry Anthology \u27Dhifa\u27 (\u27Feast\u27)
No full textThis paper discusses nihilism and postproverbials as exhibited, and how occasionally they occur pari passu, in a postmodern Swahili anthology of Dhifa, published in 2008 and authored by Euphrase Kezilahabi. Nihilism is “the radical repudiation of value, meaning and desirability” (Nietzsche Friedrich 7). It is a doctrine of skepticism that negates among others, idealism, mythology, arbitrary morality, and sacred values while maintaining that established institutions based on these beliefs must be destroyed. It is a populist notion and a philosophical orientation that interrogates the meaning of life and sees life as being hopeless and meaningless. On the other hand, postproverbials are “radicalized proverbial utterances which subvert the logic and the pattern of conventional proverbs, and aim to supplement an essentially traditionalist imagination with an iconographic and modernist consciousness” (Raji-Oyelade Aderemi 49). Both forms aim to repudiate or subvert the established mantra or ethos. Justification for our contention of the proposed point of convergence between these strands is demonstrated in the innovative manipulation of Swahili proverbial logics and symbolism by Kezilahabi in his many works, and in particular, Dhifa. We present evidence of how Kezilahabi turns the conventional form of Swahili proverbs which normally serves as a vital medium to prescribe and proscribe the code of conduct of the people around to postproverbials, which are in essence, structured in a more unconventional form. Kezilahabi uses the same path to advocate his new beliefs, and values them through postproverbials or anti-proverbs. We are determined to show in this paper that the use of postproverbials is a key weapon that Kezilahabi harbours in his anti-platitudinous maneuvering to precisely drive his agenda. Our rationale is derived from parallelism we noted between Dhifa and Thus Spoke Zarathustra (1883-1885) by Friedrich Nietzsche (2006).  
The Depiction of Women in Bongowood and Ghallywood Video Films
Get PDFThis study examines the representation of women in video films in Tanzania and Ghana. Nollywood\u27s impact on the film industries in Ghana and Tanzania has resulted in the emergence of various film traditions - Ghallywood in Ghana and Bongowood in Tanzania. Women are often portrayed as cunning, materialistic and immoral in Nollywood films. It is evident that Bongowood and Ghallywood movies have adopted these portrayals in terms of plot, characterisation, theme and technique. In this paper, we contend that the influence of Nollywood contributes to these negative depictions. Furthermore, we argue that the influence of culture, religion, colonialism and literature are possible sources of these adverse, prejudiced, and discriminatory portrayals of women in Tanzanian and Ghanaian local video movies through characterisation. In a comparative study of two films, Shakira (Face of Deceit) (Amanfo, 2009) from Ghallywood and Family Disaster (Kigosi, 2010) from Bongowood, the paper illustrates the various ways in which women are portrayed. Thus, representations are influenced by perceptions of society, which historically stem from African cultural and religious stereotyping, among others
Kikale cha Kifo kama Mbinu ya Utunzi katika Fasihi ya Kiswahili
Get PDFMakala haya yanachunguza tukio la hatima ya maisha ya kifo ambalo kwa muda mrefu limekuwa likidhihirika na kutumiwa na watunzi katika kazi za sanaa hususani tamthilia. Kifo ni taashira kongwe ambayo imekuwepo katika kazi za sanaa za jamii zote ulimwenguni na katika vizazi na ustaarabu wa nyakati mbalimbali. Kifo kama kikale kimekuwa kikijitokeza mara kwa mara katika kazi za sanaa kwa njia ya kujirudia rudia kiasi kwamba kinajibainisha kama motifu ya utunzi wa kazi za fasihi inayoathiri muundo na dhamira za kazi hizo. Matokeo ya uchunguzi yanafafanua matumizi ya kifo kama mbinu ya utunzi wa tamthilia ya Kiswahili na kudhihirisha kifo kama kikale kinachojirudiarudia katika kazi za fasihi. Utafiti huu uliongozwa na nadharia ya uhakiki wa vikale iliyoasisiwa na mtaalamu Northrop Frye (1957) kutoka Kanada
The Slave-Trade Trauma in Léonera Miano’s "La Saison de l’ombre" (Season of the Shadow)
Get PDFRecent developments in trauma studies call for increased research on postcolonial literatures to expand the scope of trauma theory to the experiences of non-Western societies. Despite numerous memorial initiatives, the slave trade remains relatively unaddressed in the Francophone literary sphere. Contemporary novelists have started to break the silence on this outrageous episode of African history and contribute to completing the puzzle of slave history which, now more than ever, needs the Francophone African perspective. This article will focus on Léonora Miano’s La Saison de l’ombre (2013). It will examine the notable aesthetic features of the slave trade and the ethical accounts through which the author, as a Franco-Cameroonian novelist, revisits the traumatic experience of the slave trade. This analysis will draw from trauma theories and postcolonial models of trauma to understand the tragedy of the slave trade and its effects on the African memory-building and explore the new avenue that African literature in French may open
Mchakato wa Uandishi Bunifu kama Unavyoakisiwa katika Riwaya za Kisasa za K.W. Wamitila
Get PDFMakala haya yamejibana katika ufafanuzi wa upekee wa mtunzi wa riwaya za Kiswahili za kisasa pamoja na changamoto anazopitia mikononi mwa wahariri na wachapishaji kama inavyopendekezwa katika riwaya zenyewe. Aidha, makala imependekeza njia za kuboresha na kukuza riwaya mpya za Kiswahili. Madhumuni yake ni kufafanua mchakato mzima wa uandishi wa riwaya mpya kwa kuwaangazia wahusika watatu muhimu yaani mwandishi, msomaji na mchapishaji. Nadharia ya usasaleo imeuongoza mjadala huu katika ukusanyaji na uchanganuzi wa data. Mintarafu ya nadharia, mtunzi wa kazi bunifu ana uhuru wa kuandika jinsi apendavyo, hailazimu kwamba riwaya zifuate utaratibu mahususi. Mkabala wa uchanganuzi wa yaliyomo ulitumika kuchanganua data iliyohusiana na swala zima la ubunifu na uchapishaji wa riwaya mpya ya Kiswahili. Data ilichanganuliwa kwa kuangazia maudhui na vipengele vya mbinu za kimajaribio kama vile dayolojia, urejeleomatini, simulizi fupi na taashira. Riwaya za Mwandishi, Msomaji na Mchapishajii na Musaleo! zimetumika kuangazia mchakato huu. Matokeo yamewasilishwa kwa njia ya maelezo. Imebainika kuwa sura na ubunifu wa riwaya mpya ni zao la usomi. Ili kuelewa ujumbe katika riwaya za kisasa ni muhimu kwa ‘mhariri’ kufanya utafiti wa kina kabla ya kutoa mapendekezo yake kwa mchapishaji. Aidha, inailazimu hadhira kuwa na ufahamu wa mambo mengi kiada ili kung’amua yanayowasilishwa katika riwaya za kisasa
A Contextual Meaning Mislay in Translation: A Case of Hedges in Presidential Political Speeches in Kenya
Get PDFThis study seeks to highlight the phenomenon of pragmatic mislay in translation of hedges in presidential political speeches from English to Kiswahili and Vice versa. Hedges are considered an additional ingredient in communication, making the interlocutor to pass his or her message either elaborately or implicitly Lakoff, (1973). Information may pragmatically be expressed in an explicit or implicit manner to amplify or to conceal a specific message through usage of hedging devices which are not forthrightly detectable in a statement. This pragmatic function in a statement is bound to be missed out in translation leading to pragmatic mislay on the speeches owing to the fact that, hedging is a political strategy of communication for myriads of reasons. This is detectable in culture specific terms found in the proverbs often used by the politicians in their public addresses to convince and alter the thinking process of a community and sway them to vote in a certain direction. The study focused on cultural-specific terms in certain proverbs used by politicians and their translatability as hedging devices. Kiswahili and English are the official languages and as such used interchangeably by politicians in political rallies. Due to their polygramatic nature, the hedging devices in the political language are a problem in translation. This would establish the connecting factor between pragmatics and translation
Quaseilhas: A Performative and Transmedial Memory
Get PDFQuaseilhas (“Almost Islands”), a theater play written by Afro-Brazilian author Diego Araújo, premiered at Barbalho Fort, Salvador da Bahia (Brazil), in April 2018. The set consists of a three-room wooden shed placed in the courtyard of a historic castle in Salvador da Bahia, designed to contribute to the entanglement of various memories inscribed in time and space: as the spectators can only attend the play in one room at a time, they have only limited access to the overall events of the play which moreover is transmitted in an unknown language, namely Yorúbà. The shed also refers to the stilts built close to the shore, where the majority of the population is of Afro descent. Araújo borrows features from the alárinjótheatrical form, which blends performance, song, dance, projections of clips, and music, drawing the spectators into a vortex of a polyphonous and intermedial process of remembering fragments of the Middle Passage, slavery, and the difficult living conditions of socially marginalized communities. In its aesthetic, the play also refers to Afrofuturism, highlighting how the memory of the past should be the basis for reimagining the future
Istiara katika Riwaya ya \u27Kusadikika\u27 ya Shaaban Robert
No full textMakala haya yanakusudia kuonesha jinsi istiara ilivyotumika katika riwaya ya mwandishi nguli Shaaban Robert ambaye ni mmojawapo wa waandishi maarufu na waliosifika sana katika utunzi wa kazi mbalimbali za fasihi. Shaaban Robert aliiandika riwaya yake ya Kusadikika mnamo mwaka 1951. Utunzi wa kazi za fasihi kwa kutumia mbinu ya istiara ulikuwa/umekuwa nyenzo muhimu sana katika kuusawiri, kuubeza na kuukosoa mfumo wa kikoloni na pia hata mfumo mwingine wowote ule ambao unaonekana kwenda kinyume na matakwa ya jamii fulani. Kwa kuwa Shaaban Robert ni miongoni mwa watunzi wa kazi za fasihi walioanza kuandika kazi zao katika kipindi cha ukoloni, tumeona ni vyema tukaangalia ni kwa vipi mtunzi huyu ametumia mbinu hii ya istiara kama mbinu mojawapo za kiutunzi zenye lengo la kusawiri hali halisi katika jamii hususan katika kipindi cha ukoloni. Kwa hivyo basi, makala yatajikita katika kuangalia dhana ya istiara na jinsi ndugu Shaaban Robert alivyotumia istiara katika riwaya hii na pia kufafanua maana zinazoweza kupatikana kutokana na matumizi hayo ya istiara. Katika kufanikisha uchambuzi huu, makala haya yatatumia nadharia ya udenguzi kama ilivyoasisiwa na Derrida (1967)
“Tell Your Neighbour Life is Very Tricky”: Performing The City in Swahili Comedy Shows in Nairobi
Get PDFThere has been phenomenal growth in the entertainment and creative industries in Kenya, especially since the turn of this millennium. The emergence and rising popularity of comedy shows in the country attests to this trend. To illustrate this development in Kenya, this paper offers a close reading of performances by MCA Tricky, a comedian who appears on Churchill Show, which is broadcast on Nation Television (NTV) and whose recorded videos are available on the YouTube channel of the same name. Focusing on various aspects of humor and the trickster motif, the multilayered nuances and meanings of these performances are examined. Based on everyday life experiences, the Kenyan audience can easily identify with and relate to the jokes and comedy of MCA Tricky. MCA Tricky satirizes the actions and choices of various characters in the urban space of Nairobi, including the street boys, whom his persona exemplifies. Following Bakhtin’s notion of “carnivalesque,” the comic performances of MCA Tricky can be considered as subversions of dominant narratives and political power. These comedies generate humor particularly due to how Tricky fashions his persona along the lines of the trickster figure, found in many traditional African oral narratives, through the use of such techniques as parody, paronyms, puns, and ellipsis. By mocking their actions and ways of thinking, Tricky lets members of the audience laugh at their own miscalculations and bad decisions. At the same time, the audience can obtain insight into situations in their lives that are similar to the ones Tricky dramatizes. Just as his stage name suggests, the performances of MCA Tricky portray him as tricky and streetwise. Ironically, he often finds himself in tricky circumstances. For instance, in the episode where he addresses a letter to the president with the aim of applying for employment, the boundaries separating two social categories—the ordinary person and the political elite—are demolished. But this closeness to the presidency, albeit through epistolary form, does not alter his status as a street boy. All in all, most of MCA Tricky’s performances help to promote a democratic mindset among the citizenry, since the underprivileged can be seen here to subvert hegemonic discourses. To arrive at these conclusions, I outline nine steps in one of MCA Tricky’s performances, “MCA Tricky Writes A Letter to the President.” Clearly, what this episode exemplifies is that comedy serves the dual function of entertainment as well as sociopolitical critique