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Trans-Generational Apartheid Pain in Zwelethu Radebe’s Film "The Hangman"
Get PDFThe film makers’ contention is that “The Hangman’s” central theme is family, family secrets and the need for communication which is deeply imbedded in the storyline of the film, the sentiments of secrecy and a lack of dialogue in the South African society seem contradictory. This is because South Africa’s efforts for reconciliation after apartheid have been lauded world-wide. The establishment of a national platform where perpetrators and victims were able to tell of the horrors of apartheid regardless of political affiliation, class, race or tribe through South Africa’s Truth and Reconciliation Commission is celebrated as having helped the country to reconcile, heal and move forward. The South African model has inspired ‘other similar efforts around the world’ especially as a ‘gold standard for how a divided society with a violent past might work through that past and move forward’ has been set by this model (Mary Kay Magistad – 2017). It would therefore be expected that South Africa should have moved on from this dark past after such efforts which have been lauded as largely successful. Least of all, the horrors and pain of the system should not be haunting millennial South Africans. Of course, many scholars including Desmond Tutu, the chair of Truth and reconciliation Commission (TRC) have accepted that the effort was borne with ‘challenges and limitations’ which resulted in a failure to meet its overall objective of healing, reconciliation and restorative justice. Magistad (2017) points out that the country ‘has learned over time that working through a complicated past takes time, and is still taking time.’ This paper therefore reads this film as a continuation of the TRC’s efforts through dialogue and national testimony of the horrors of apartheid
The Pragmatic Import of Humorous Utterances in Kiswahili Buying and Selling Encounters
No full textThis paper analyses humour as a pragmatic resource that interactants draw on to promote interpersonal relations between themselves as they engage each other in the negotiation exercise. Humour is discussed as a pragmatic and strategic resource that the interactants tap in order to amicably transact, besides enhancing their solidarity and mutual understanding. They therefore position themselves as equals in the market encounter. Humour is one of the essential tools for exploring the ways in which market conversation achieves serious social effects, while appearing to be no more than ways of having a few laughs together. The author discusses humour in the context of the market negotiation where, the two parties engage each other in a relaxed talk. As such, the two parties interact as “free and equal individuals who are willing to construct a context in which they are free to engage each other in the transaction encounter in the way and manner that pleases them
Taswira kama Kurunzi ya Kuangazia Uozo katika Jamii ya Kisasa: Mfano kutoka Riwaya za \u27Mafuta\u27 na \u27Walenisi\u27
No full textMakala haya yanachunguza matumizi ya taswira kama kurunzi ya kuangazia uozo katika jamii ya kisasa kupitia riwaya za G.K Mkangi Mafuta (1984) na Walenisi (1995). Riwaya za Mafuta na Walenisi zinachunguza jinsi mfumo wa kisiasa unaodhibitiwa na tabaka la wachache unavyoweza kuathiri maisha ya wanaotawaliwa kijamii, kisiasa, kiuchumi, kidini na hata kisaikolojia. Zinaonyesha uozo uliopo katika tawala ambazo hazitilii maanani maslahi ya wengi. Makala haya yanachanganua taswira zilizotumiwa na Mkangi ili kubainisha uozo huu kupitia masuala ya kisiasa, kijamii, kiuchumi na kidini. Katika riwaya hizi, mwandishi Mkangi alitumia taswira kimakusudi ili kuepuka kupigwa marufuku kwa kazi zake. Katika mbinu hii kunatokota masuala nyeti ya kijamii na kisiasa ambayo alikusuadia kuyapitisha kwa msomaji wake. Matumizi ya taswira yalimwezesha kushambulia wenye mamlaka bila ya kuamsha hasira yao. Katika kufanya hivi, alitoa hadharani upungufu na uozo wa jamii yake na jamii pana ya ulimwengu. Alikuwa na lengo la kuamsha umma mpana unaolala kuhusu hali halisi ya maisha yao. Wakati ambapo alikuwa akiandika riwaya hizi, uhuru wa kujieleza na kuikosoa serikali iliyokuwa mamlakani ulidhibitiwa. Kazi zilizoonekana kuikosoa serikali zilipigwa marufuku. Hivyo basi, ni wazi kwamba Mkangi alibuni mbinu ya taswira ili iweze kuchukuana na mazingira na wakati. Mwandishi Mkangi aliyafumbika maswala nyeti katika mbinu ya taswira ili awasilishe vizuri zaidi ujumbe wake kwa jamii kwa njia halisi. Taswira alizozitumia zina nguvu kubwa ya kuganda akilini ili msomaji aweze kufafanukiwa na uhalisi wa hali yake na wakati huo huo kupata msukumo wa kubadilisha mfumo huo dhalimu
Software Localization: An Exploration of the Problems Encountered by Localizers in Transferring Messages from English into Kiswahili
No full textRegardless of translation type, rendering messages from the Source Language (SL) to the Target Language (TL) is a process that involves a chain of translational activities that require the translator to apply relevant strategies and solutions based on situation, context, client specifications and text function among others. All these require possession of relevant translatorial competences. The paper examined the linguistic aspects of English and Kiswahili as the SL and TL respectively that rendered transfer of message from English to Kiswahili problematic during the localization of some of Google’s software products. To do this, we did both qualitative and quantitative analyses of the lexical and terminological units (LTUs) in both English and Kiswahili. The results have revealed that there are linguistic challenges in localizing software into Kiswahili considering the technical requirements for authoring software. Thus, it is necessary to develop an approach to mitigate those challenges in order to improve the communicative effectiveness of the localized products as well as their overall usability
Vipashio vya Lugha Vinavyosawiri Ubabedume katika Majigambo ya \u27Miviga ya Shilembe\u27 na \u27Mchezasili wa Mayo\u27 Miongoni mwa Waisukha Nchini Kenya
No full textMakala haya yanahusu dhana ya ubabedume katika majigambo ya miviga ya Shilembe na mchezasili wa Mayomiongoni mwa Waisukha nchini Kenya. Utafiti huu ulihakiki vipashio mahsusi vya lugha kwa mtazamo wa kisemantiki ili kubainisha jinsi vinavyosawiri na kuendeleza ubabedume katika miviga ya Shilembe na mchezasili waMayo. Makala yalihakiki majigambo kumi na sita yaliyokusanywa kwa kutumia uchunzaji-shirikishi, usaili, unasaji na ujazaji wa hojaji. Matokeo ya utafiti yalionyesha kuwa, lugha ya majigambo ya miviga ya Shilembe na Mchezasili wa Mayo yamedhihirisha kuwa, masuala ya kijamii yanasawiriwa kisanii kupitia mwingiliano-taaluma kati ya fasihi na isimu. Utafiti umeonyesha kuwa, lugha ni kipawa ambacho jamii hutumia wakati mwingine vibaya kumtukuza mwanamume zaidi na kumpa uwezo na mamlaka juu ya mwanamke
Lugha, Fasihi na Ukabila: Mwelekeo wa \u27Nasikia Sauti ya Mama\u27
No full textUkabila ni dhana ambayo inajidiliwa katika vyombo vya habari na wanasiasa na hata wananchi wa kawaida wameipa dhana hii nafasi katika mazungumzo yao ya kila siku. Hivyo basi, ukabila umekita mizizi katika harakati za maisha ya watu. Inaaminika kuwa dhana hii ilizuliwa na watu wachache wenye nia ya kukidhi matakwa yao kisiasa ili kujinufaisha na mfumo wa maisha ambao utawafanya watu wengine katika jamii kujiona wametengwa na kubaguliwa. Ukabila umesababishwa na ubinafsi wa watu wanaojiweka mstari wa mbele katika kutekeleza majukumu ya maendeleo katika jamii ambayo ina watu wenye mtazamo, itikadi, dini, lugha na tamaduni tofauti. Tofauti hizi husababisha jamii moja kujitenga na nyingine na kuibua matabaka ya watu ambao kila mmoja anajiona bora kuliko mwenzake. Makala haya basi yatajadili suala la ukabila kwa kurejelea riwaya, tawasifu/bayografia ya Nasikia Sauti ya Mama mintaarafu lugha ya Kiswahili iliyotumiwa katika utunzi wake
Dhanagande na Vichekesho vya Kikabila kama Lugha ya Chuki
No full textNchi ya Kenya ina zaidi ya makabila 42. Wakenya wengi hujitambulisha na jamii zao. Kwa muda sasa, kila jamii imeundiwa dhanagande pamoja na vichekesho vinavyohusiana nayo. Makala haya yanashughulikia uhusiano uliopo baina ya dhanagande, vichekesho vya kikabila, na chuki za kikabila; mada ambayo haijashughulikiwa na watafiti wengi. Aidha, makala haya yanaupima utani huu katika mizani ya sheria za nchi ya Kenya ili kuona kama kuna ukiukaji wowote unaotokana na athari zake. Makala yanaonesha kwamba vichekesho vya kikabila vinavyokiuka mipaka si mzaha tena bali ni namna nyingine ya kueneza chuki. Nadharia zinazotumiwa kuchanganua mada hii ni zile za Majikwezo, Kutopatana kwa mawazo na ile ya Faraja (Raskin, 1985). Nadharia hizi huweza huzingatia madhumuni mbalimbali ya vichekesho. Data ya makala imetolewa kwenye mitandao ya kijamii na pia kutoka kwa kipindi cha Churchill Show. Makala yanaweka wazi changamoto za kisheria katika kukabiliana na hali hii. Pia kunatolewa mapendekezo ya namna ya kukabiliana na hali kama hizi kwa ajili ya utangamano wa kitaifa
Nafasi ya Kiswahili katika Mandhari-Lugha: Uchambuzi Kifani wa Mabango ya Matangazo ya Makampuni ya Mawasilino ya Simu
No full textTafiti zimeonesha kuwa kimatumzi, Kiswahili kinachukua nafasi ya pili katika maeneo ya umma ambayo katika makala haya hujulikana kama mandhari-lugha. Makala haya yametokana na utafiti wa uwandani uliofanyika katika Jiji la Mbeya nchini Tanzania mwaka 2018. Jumla ya mabango ya matangazo 156 ya makampuni ya mawasiliano ya simu yalikusanywa na kufanyiwa uchambuzi. Mabango ya matangazo ya makampuni ya mawasiliano ya simu yaliteuliwa kutokana na nafasi yake katika kutumia na kueneza lugha kwa haraka katika nyakati hizi za teknolojia ya mawasiliano. Uchambuzi ulifanyika kwa kutumia zanatepe ya Programu Tarakilishi ya Takwimu (PTT) katika kuainisha mipangilio ya lugha, mtawanyiko wa idadi ya maneno na ukubwa wa maandishi. Aidha, data za mahojiano na watumiaji wa simu na na baadhi ya mamlaka za serikali zimetumika kushadadia data za mabango ya matangazo. Kwa kutumia nadharia ya Ubeberu wa Kiisimu, matokeo yanaonesha kwamba Kiswahili kinajitokeza katika nafasi ya kwanza katika mandhari-lugha ya Jiji la Mbeya kwa vigezo vya mpangilio, idadi ya maneno na ukubwa wa maandishi. Matokeo haya yanatofautiana na tafiti zilizo nyingi ambazo hazikuzingatia idadi ya maneno wala ukubwa wa maandishi kama vipengele muhimu vya kueleza nafasi ya lugha katika mandhari-lugha. Vilevile, majina ya pekee katika uchambuzi yaliainishwa katika nafasi yake kwa sababu katika baadhi ya tafiti tangulizi majina ya pekee yamekuwa yakiathiri nafasi ya lugha na hali halisi ya wingilugha katika ikolojia. Pendekezo la makala haya ni kwamba tafiti zingine zifanyike katika mandhari-lugha ili kubainisha sababu za mandhari-lugha nchini Tanzania kutawaliwa na uwililugha suala ambalo linatishia wingilugha na uanwailugha
Self-Determination and Resistance in Adversarial Contexts: A Reading of Ngũgĩ Wa Thiong’o’s "Detained: A Writer’s Prison Diary"
No full textI will.
I will skip without your rope, since you say I should not.
I cannot borrow your son’s skipping rope to exercise my limbs.
Watch. Watch me skip without your rope.
Watch me skip with my hope.
I will.
A seven. I do—will skip—a ten;
Eleven. I’ll skip without, skip within,
And skip I do, without your rope,
But with my hope. I’ll fight your rope,
Your rules, your hope,
As your sparrow does under your supervision.
Guards, take us for the shower!
Jack Mapanje (Skipping Without Rope)
The prison must be the microcosm of a perfect society in which individuals are isolated in their moral existence, but in which they come together in a strict hierarchical framework, with no lateral relation, communication being possible only in a vertical direction.
Michel Foucault (Discipline and Punish)
This paper is a reading of Ngũgĩ waThiong’o’s Detained: A Writer’s Prison Diary (1981), demonstrating how the genre of the prison diary can be employed as a direct documentation of self-experiences versus national politics. Through the prison diary, I argue, the writer resists attempts by the state apparatuses to suppress freedom of expression. Representing a large corpus of prison autobiographical writings that deal with narratives of political activism in Kenya, Detained vividly captures Ngũgĩ’s one-year-long experience of incarceration, between December 1977 and December 1978. Besides giving the motive and purpose of autobiographic writing in post-independence Kenya, Ngũgĩ clearly shows how the genre of the prison diary has thrived within the adversarial context of the prison. Consequently, our analysis in this paper illuminates how the prison setting ends up fostering instead of stifling creativity (Olaniyan &Quayson, 2007, p. 139). Indeed, the adversarial context of detention is seen as an example of external constraints meant to suppress the writer’s self-realisation. It is through writing that Ngũgĩ is able to reveal his self-worth; he uses his innermost dispensation and creativity to overcome these external barriers. Writing, therefore, enables him to transcend all forms of deprivation within this environment, demonstrating that the state can incarcerate the writer’s body but not his mind.
Using Michel Foucault’s concept of the Panopticon, I explore how the writer-turned-nameless-political-prisoner, subverts the authority imposed by this limiting and dehumanizing space of the prison, thereby contributing to the production of a new literary form—the prison memoir. The concept of the Panopticon can help in the interrogation of the power of institutions, such as the prison, over the lives of people in society. The Panopticon was constructed in such a way that it had a central tower where the unseen warders kept guard over prisoners. Prisoners were locked up in several storeys of cells where they could not see either the warders or the other fellow inmates. These were arranged in a circle around the surveillance tower. In that way this structure ensures total control is exercised over the inmates
Self-Exile within the Community: Athol Fugard’s Psychotherapist Solution to his Characters in his Film Plays "The Guest", "The Occupation" and "Marigolds in August"
Get PDFThe South African playwright Athol Fugard has crafted more than twenty five plays based on Apartheid South Africa, each of them prescribing a different solution to this malady known as Apartheid for both his non-white and white characters. The three film plays selected for this paper explore the period when the playwright seemed to suggest that self-exile could effectively work against apartheid policies, so his characters withdraw from the community and into themselves as a way of escaping the harsh conditions they find themselves in. The study adopts psycho-analytic theory as propounded by Sigmund Freud and enhanced by Carl Gustav Jung to explore the psychological conditions of the characters as they react to their physical environments