5 research outputs found
Kgolo le tlhopho ya theto ya Sepedi / Growth and classification of Sepedi poetry
No full textThesis (DLitt)--University of Pretoria, 2015.When the origin and the development of the Sepedi literature is looked into, it emerged that the main effort was made by the missionaries. The Berlin Lutheran Church will never be forgotten for the contribution they made. They were the first people to convert Sepedi to a written language and laid ground for creative writings that followed.
Before the year 1935, the literature books that were there were religious books written by missionaries. By so saying, 1935 was the year in which modern literature started. Most creative books appeared after that year. The main question now is, after 1935, was there any growth noticed in the literary writings, and was there any classification of literary works done? This question of growth and classification of literary works has been paid attention to by two very important theorists of Sepedi literature namely: Groenewald and Serudu. The idea of classification was prompted by the increase in the number of creative books published in Sepedi.
In his attempt to indicate growth and classification of Sepedi literature, Groenewald uses years of publication. To him the year of publication was the best indicator for the classification of Sepedi literature. However, the problem with his classification is that the reader is merely presented with a chronological sequence of publications without being provided with any specific reason by the author which compelled him to classify the growth of Sepedi literature by year of publication. In his classification, he mentions that there are features which are typical of each period but in his discussion, he does not use them. The features are not used to emphasise and to put focus on growth and classification.
Serudu also discusses classification and development of Sepedi literature according to year of publication like Groenewald. He groups the years into three periods. The characteristics that Serudu mentions in his classification are really not different from those distinguished by Groenewald. In his classification, Serudu mentions characteristics which he himself, however, does not apply in his own classification. From what is said above, it is clear that both Serudu and Groenewald have used the same approach as far as the classification of Sepedi literature is concerned.
In his classification, Mashabela does not describe or put in place the authors who fall under each period as Serudu and Groenewald have done. His classification entails poetry only and his focus point is on Matsepe s poetry. According to him, Matsepe s poetry falls under the transitional traditional period while modern poetry starts with the poetry of Bopape and Ratlabala. Reasons are not provided for his type of classification. Similarly, he too mentions the characteristics of each phase, the same way Groenewald and Serudu do. The very characteristics mentioned by Serudu are also referred to in passing by other theorists without the characteristics receiving due attention.
This study has sought a solution to the problem of growth and classification by focusing on the growth and classification of Sepedi poetry and not on the growth and classification of Sepedi literature in general. If attention can be devoted to the growth and classification properly, there are characteristics that can be used to solve this problem of growth and classification. The characteristics have to be brought forth and classified according to their importance.
When searching for the characteristics that will reveal growth/development and classification of Sepedi poetry attention should be paid to its structure as a literary work. Poetry is literary art just like other literary works such as the novel, drama, short stories, et cetera. Even if that is the case, a poem is different from a novel or other types of stories, because it has meter, while a novel is based on a prose, but both do narrate, especially when attention is devoted to poems, such as a narrative poem, that narrate in the form of a meter.African LanguagesDLittUnrestricte
Mongwalelo wa sefela sa Serote: 'A re thabeng re rete' (Difela t�a kereke, 2010)
No full textBangwadi ba Bathobaso ba difela t�a kereke ba huedit�we ke bangwadi ba baruti (ba Matoit�hi ba Kereke ya Lutere ya Berlin) ge ba tlo ngwala difela. Ka go realo ke ba mathomo ba go ngwala poleloopelwa ya Sepedi. Ka lebaka la gore baruti ba Matoit�hi ba be ba sa tsebe melao ya go laola metara wa Sepedi, ba thomile go hlama difela t�a bona ka mokgwa wo difela t�a Setoit�hi di hlamilwego ka wona. Bangwadi ba difela ba Bapedi le bona ba ba �ala morago bjalo. Ka go realo go ka thwe mothopomogolo wa khuet�o ya sebjalebjale dingwalong t�a Sepedi ke mediro ya kereke ya mathomothomo. Le ge go le bjalo bohlokwa bjo bja kgolo ya theto ka tsela ya difela dingwalong t�a Sepedi ga se bja �alwa morago le go gatelelwa ke basekaseki. Maikemi�et�o a taodi�wana ye ke go lekola, ka botlalo, mongwalelo wa difela ka go nepi�a sefela sa Serote sa 147 sa go bit�wa �A re thabeng re rete� (Difela t�a kereke 2010:130). Go yo tsitsinkela ka fao mongwalelo o t�wet�ago pele kgegeo. Ka mant�u a mangwe, go yo sekasekwa dipharologant�ho t�a mongwalelo t�e di t�wet�ago pele kgegeo. Go tlo lemogwa gore kgegeo yeo e bonagat�wa ka modiro wa Selalelo se Sekgethwa sa Morena seo se hlalo�wago ka tsela ya khuduego/maikutlo go t�wet�a pele morero wa mongwadi/moopedi wa sefela se ka ge bjale Selalelo e le selo seo Bakriste ba se hlomphago (se lebane le tshwarelo ya dibe t�a bona), go ya ka fao se hlalo�wago ka gona ka tsela yeo ya kgegeo.�AbstractBlack composers of church hymns were influenced by German pastors of the Berlin Lutheran Church to do so. In other words, these pastors were the first composers to write the Sepedi language in the form of music; because they did not know the rules that control the Sepedi meter, the writers started to compose their hymns in the way that the German hymns were patterned. Therefore, one might argue that the main source of modern influence in Sepedi literature lies in the workings of the very first hymns of the said church. Nevertheless, the importance of the development of poetry in the form of hymns in the Sepedi literature has not been followed up and emphasised by reviewers.The aim of this article is to survey thoroughly the style of writing hymns, by discussing Rev Serote�s hymn number 147, entitled �A re thabeng re rete� (Difela t�a kereke 2010:130).The scrutiny will examine the way in which style depicts irony in the very hymn. In other words, the investigation considers especially the characteristics of style that indicate and develop irony in the work. It will be shown that the irony becomes clear during the service of Baptism which is expressed by way of emotions to develop the author�s aim, as this sacrament is something that Christians respect (it goes hand in hand with the forgiveness of their sins).</p
The habitual mood in Northern Sotho
No full textM.A. (African Languages)Please refer to full text to view abstrac
Playing football without a ball: language, reading and academic performance in a high-poverty school
No full textThe role of Umkhonto we Sizwe (MK) in the national liberation struggle in South Africa with reference to the rural far northern Transvaal, 1976-1990
No full textIncludes bibliographical references (leaves 250-275)
