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Influence of English on African Languages: A Look at English Loanwords in Kiswahili
No full textKiswahili, like all developing languages of wider communication, is continually faced with the challenge of modernizing its lexicon and developing new words to denote new concepts entering into the language from alien cultures. However, in the last 40 or so years, Standard Kiswahili, which is based on the Swahili dialect called Kiunguja, (spoken in Zanzibar Island), has grown and spread so much as to assume its own distinct character. One dominant aspect of this growth is the area of lexical borrowing from the English language. This process has often been carried out in an isolated and uncoordinated manner resulting into many words of English origin being adapted into Kiswahili to duplicate other lexical equivalents already in use. This paper examines the types of lexical borrowing from English into Kiswahili and attempts to advance the rationale for such borrowing. The registers covered include: the sciences; military service, domestic life; sports (eg. Soccer). Examples of unnecessary duplication (over-borrowing) and unnatural adaptation of some of the borrowed words are indicated. In conclusion, it is argued that over-borrowing by Kiswahili from English is largely caused by motivation and not causes, according to the theoretical model on lexical borrowing advanced by Roberts (1994) and Weinreith 1968)
Umilisi Kimsingi wa Mashairi na Namna Unavyoathiri Ufasiri na Uelewekaji wa Ushairi katika Shule za Upili
No full textMakala haya yanachunguza changamoto za ufasiri na uelewekaji wa mashairi miongoni mwa wanafunzi wa Kiswahili wa sekondari nchini Kenya. Tunahoji kwamba ukosefu wa umilisi kimsingi kuhusu taaluma ya ushairi ni sababu kuu inayopelekea wanafunzi wengi kutomakinika katika somo la mashairi. Tunaegemeza tathmini yetu katika mihimili ya nadharia mseto hususan; ya Uhementiki na ya Uhistoria Mpya. Nadharia ya Uhementiki inadai kwamba ili kuelewa matini nzima, sharti sehemu zote za matini husika zieleweke. Kadhalika, ili kufasiri kila sehemu ya matini kwa ufasaha,sharti mfasiri azingatie matini nzima. Nadharia ya Uhistoria Mpya hutoa msingi maridhawa wa uchambuzi wa matini katika miktadha ya kihistoria. Inaelekeza kuwa; mwingiliano matini uliopo unapatikana kwa kuitazama jamii, mazingira, historia na utamaduni wa jamii husika na wala, si lazima mhakiki au mfasiri ajifunge kwenye kipengee fulani maalum pekee cha kazi hiyo kama vile lugha. Ni matumaini yetu kuwa makala haya yatatoa kurunzi kwa washika dau kukabiliana na uto-umilisi katika taaluma ya ushairi jambo ambalo tunaamini fika kuwa litasaidia kuondoa kiwi la kutoeleweka kwa ushairi miongoni mwa wanafunzi hao katika ukanda huu wa Afrika Mashariki
Tahakiki Linganishi ya Motifu Zinazobainika katika Tendi za \u27Mikidadi na Mayasa\u27 na \u27Kalevala\u27
No full textMjadala na mgogoro mkali mno katika jamii ya usomi. Hii ni kutokana na rai kuwa wasomi na watafiti wengi kutoka maeneo ya Kimagharibi walidai kuwa Afrika hakuna tendi ila kinachodaiwa kuitwa tendi ni masimulizi ya kisifo tu. Suala la motifu katika kazi ya fasihi ni la kimsingi mno kwani hubainisha ni kwa kiwango kipi vipengele mbalimbali vya kifasihi huingiliana na huonyesha ni kwa njia zipi ambapo kazi ya fasihi hurudiarudia dhana mbalimbali ili kuleta msisitizo na kukuza maudhui pamoja na dhamira. Ili kujaribu kutatua mzozo na utata uliopo kuhusu uwepo wa tendi katika maeneo ya Kiafrika, Makala haya yalichunguza iwapo motifu zinazobainika katika tendi za maeneo haya mawili zinawiana au la. Madhumuni makuu yalikuwa kutathmini iwapo kuna mwingiliano na mfanano wa motifu mbalimbali baina ya tendi za Kiafrika na zile za Kimagharibi. Waandishi walichunguza tendi mbili zinazopatikana katika maeneo ya Kiafrika na Kimagharibi. Tendi hizi ni Utendi wa Mikidadi na Mayasa (Afrika) na Utendi wa Kalevala (Finland)
Masculine and Feminine Constructions of Migration in Swahili Literature: \u27Mbali na Nyumbani\u27 and \u27Mhanga Nafsi Yangu\u27
No full textThere is a contention in Kiswahili literary discourses which argues that apart from migration rooted in refugee movements, the predominant form of migration discernible in Kiswahili literature is that of male labour, migration that is motivated by economic imperatives - which also implies it is migration in search of better education, training and employment opportunities. This is the migration that accounts for the relocation and exodus of Africans from their domiciles of origin to new and distant habitats (Senkoro, 2010). This paper seeks to argue that the male trajectory of migration was only true up to a point and it therefore intends to deconstruct this trajectory through a comparative examination of the portrayal of gender - the male-female dichotomy of migration in selected Kiswahili literary works, namely; Mhanga Nafsi Yangu by Said Ahmed Mohamed (2012) and Mbali na Nyumbani by Adam Shafi (2013). In trying to deconstruct migration as a masculinist concept, this paper proposes to examine the two selected novels on the basis of the journey and search motifs so as to understand and interrogate the complexity of migration experiences, determine types of migration and their implications in constructing masculine and feminine nuances of migration. Theoretically, this study is framed on international migration theories and their socio-criticism, which help the reader understand the causes and complexities of the phenomenon of migration particularly in terms of how they construct a masculine or feminine trajectory
Resisting Ethnic and Nation - State Patriarchs as an Organizing Principle in Wangari Maathai’s Unbowed: One Woman’s Story
Get PDFWangari Maathai wrote her autobiography after her coronation as Nobel Laureate. This had a consequence on the audience she chose to address and the content she would articulate. This paper employs the concept of the organizing principle to demonstrate how Maathai applies it in the autobiography to selectively construct a transcend persona who grows beyond her Gikuyu ethnic identity and her Kenyan identity to become a global cosmopolitan citizen
Towards an Authentic African Literary Tradition: Ngũgĩ Wa Thiong’o’s Rewriting of \u27The Pilgrim’s Progress\u27 in \u27Devil on the Cross\u27
No full textWhen he made the decision to write his fictional works in Gĩkũyũ rather than in English in the late 1970s, Ngũgĩ’s wa Thiong’o, Kenya’s pioneering writer, was also one of the most prominent figures in African literature expressed in European languages. This article demonstrates that while Ngũgĩ has styled his linguistic shift as an attempt to find an aesthetic that would liberate African languages and literature from Europhonic notions of culture, it did not mean that he would henceforth cut links with the English tradition as a source of aesthetic inspiration. Taking the example of his first novel originally composed in Gĩkũyũ, Devil on the Cross, the article shows that while his choice of language did indeed gives him access to the aesthetic referents embedded in Gĩkũyũ language and oral tradition, Ngũgĩ’s Gĩkũyũ writings have a rich intextextuality with English canonical texts and with the works of D.O. Fagunwa and Amos Tutuola who pioneered a literary tradition that attempted to imagine African post-colonial identity from the perspective of a pre-colonial gnosis based on the rich oral traditions on the continent.This article argues that although the aesthetic model pioneered by Fagunwa and Tutuola was supplanted by the “modernist aesthetic” as Africa emerged from colonialism,it has recently found converts among African writers, among them Ngũgĩ wa Thiong’o. The article reads Devilon the Cross as the exemplifier of an authentic African literary tradition based on orature and African gnosis; a tradition that foregrounds African worldviews
Athari za Kifonolojia za Lugha za Kinailotiki kwa Kiswahili: Mifano kutoka Kenya
No full textLugha ya Kiswahili ina mfumo wa kifonolojia ambao una upekee unapolinganishwa na lugha nyinginezo. Tunapochunguza mfumo huu na kuulinganisha na ule wa lugha za Kinailotiki kunadhihirika tofauti anuwai. Makala haya yanalenga kuchanganua namna tofauti kati ya mifumo ya kifonolojia husika inavyochangia makosa ya kimatumizi wakati wazawa wa Kinailotiki wanapoandika kwa Kiswahili. Data ya makala haya inatokana na uchanganuzi wa mawasiliano andishi ya wanafunzi wa shule za upili katika shule teule wilayani Nakuru, Kenya. Wanafunzi husika waliandika insha moja ambayo ilichanganiliwa ili kuibuka na data hii. Makosa yanayotokana na athari za kifonolojia yamechanganuliwa huku njia sahihi ya kuyaandika maneno husika ikionyeshwa. Uchanganuzi huo uliongozwa na Nadharia ya Uchanganuzi Makosa (Corder, 1967). Matokeo ya uchunguzi huu yatawasaidia wanafunzi wa taaluma ya Kiswahili katika kuzua mikakati ya kupunguza makosa ya aina hiyo katika maandishi yao. Aidha, walimu watanufaika na matokeo ya utafiti huu katika harakati za kuwaelekeza wanafunzi kuhusu matumizi sahihi ya Kiswahili hasa kimaandishi. Kuhusiana na taaluma ya Kiswahili kwa jumla, matokeo ya utafiti huu yatachangia kuweka wazi masuala muhimu ya kuchunguzwa katika uwanda wa uchanganuzi makosa
Ujifunzaji wa Kiswahili Miongoni mwa Wakinga
No full textLengo la makala haya ni kueleza dosari zinazofanywa na wajifunzaji wa lugha ya pili (kuanzia sasa Lg2) katika Jamii ya Wakinga. Usasanyuzi dosari ni eneo muhimu katika taaluma ya Isimu Tumizi na katika taaluma ya ujifunzaji wa Lg2. Umuhimu wake unatokana na ukweli kwamba, wajifunzaji wengi wanaojifunza Lg2 hufanya dosari mbalimbali katika hatua ya kujifunza lugha hiyo. Vilevile, ni mbinu pangilifu ya kuchanganua dosari za mjifunzaji lugha. Kitaaluma dosari si kitu kibaya bali ni kipengele muhimu katika mchakato wa ujifunzaji lugha. Dosari husaidia kutambua mchakato changamani wa maendeleo ya lugha Na namna pangilifu ya kubaini, kueleza na kufafanua dosari za mjifunzaji lugha. Pia, dosari zinaweza kusaidia kutoa uelewa wa mchakato wa kuamili Lg2. Makala haya kwa hiyo yanalenga kuchunguza kwa nini wajifunzaji wa lugha ya Kiswahili katika jamii Wakinga hushindwa kumudu vema lugha ya Kiswahili licha ya kuwa ni somo la lazima tangu shule za msingi hadi sekondari za juu. Makala yanahitimisha kwamba dosari hizi kwa kiasi kikubwa zinachangiwa na athari za lugha yao ya kwanza na umbali wa kijiografia kutoka kitovuni mwa lugha ya Kiswahili
Itikadi katika Riwaya za \u27Dunia Yao\u27 (2006) na \u27Mhanga Nafsi Yangu\u27 (2013) za S. A. Mohamed
No full textMakala haya yanaonesha kuwa itikadi ni dhana badilifu na nyumbufu kulingana na maendeleo ya kijamii, kiuchumi, kisiasa na kiteknolojia. Itikadi ndiyo huelekeza misimamo, mielekeo na imani ya mtunzi na hivyo kuathiri mtazamo wa mwandishi kuhusu ulimwengu unaomzunguka, ambao huweza kubadilika kulingana na wakati na mahitaji ya kijamii. Katika mkabala huo makala haya yanatathmini itikadi ya mtunzi katika riwaya za Dunia Yao (2006) na Mhanga Nafsi Yangu (2013) za S. A. Mohamed. Kwa kutumia riwaya hizo, makala haya yanathibitisha kwamba itikadi ni dhana badilifu na nyumbufu na hutangamana na jinsi mtunzi anavyobadilisha mikakati yake ili kukidhi mahitaji ya jamii lengwa
Uchanganuzi wa Muziki Uliopendwa na Muziki wa Kisasa
No full textMuziki ni mojawapo ya vipera muhimu vya fasihi simulizi. Jumbe muhimu kuhusu masuala mbalimbali yanayoathiri jamii huwasilishwa kupitia muziki. Aidha, muziki umeweza kutumika kutoa habari kuhusu mambo ambayo huchukuliwa mwiko na, kwa hivyo, hayawezi kujadiliwa katika vikao na mazungumzo ya kawaida. Baadhi ya sifa za muziki zinazoufanya kutumika kwa urahisi ni pamoja na matumizi ya tamathali za usemi (kama vile mafumbo, methali na tashbihi) midundo na matumizi ya mahadhi yanayotokana na ala zinazotumika katika muziki. Makala haya yananuia kulinganisha muziki uliopendwa na muziki wa kisasa. Ulinganishi utahusu matumizi ya mapambo ya lugha kama vile tamathali za usemi, methali, semi na mafumbo katika aina hizo mbili za muziki kwa lengo la kuonesha ni muziki upi ulio na matumizi pevu ya lugha na hivyo unaoweza kutumika katika kuendeleza lugha ya Kiswahili. Muziki wa bendi ya DDC Mlimani Park utatathminiwa kwa kuzingatia kategoria ya muziki ulioopedwa na ule wa bendi ya Sauti Sol katika kategoria ya muziki wa kisasa