3,670 research outputs found
Nkanelo wa nemesis eka tsalwa ra Ndlandlati ya Malenga hi A.D Mahatlani na Mibya ya Nyekanyeka hi B.K.M Mtombeni
Get PDFThesis (M.A. (African languages)) --University of Limpopo, 2013The main aim of this study is to analyse nemesis in Ndlandlati ya Malenga by A.D
Mahatlani and Mibya ya Nyekanyeka by B.K.M Mtombeni.
Chapter one outlines the background of the research. This chapter deals with the theme and the methodology of the reseach. This chapter outlines the different
studies that were done on Xitsonga Literature at Honours, Masters and Doctoral
levels. This chapter also shows the methodology, the scope and definitions of
important terms that are used in this study.
Chapter two defines characterization on its broadness, looking at Ndlandlati ya Malenga by A.D Mahatlani and Mibya ya Nyekanyeka by B.K.M Mtombeni.
Chapter three outlines the biographies of the A.D Mahatlani, the author of Ndlandlati ya Malenga and B.K.M Mtombeni, the author of Mibya ya Nyekanyeka.
This chapter also deals with the summary of the book called Ndlandlati ya Malenga
and Mibya ya Nyekanyeka.
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Chapter four deals with the analysis of nemesis in Ndlandlati ya Malenga by A.D. Mahatlani and Mibya ya Nyekanyeka hi B.K.M. Mtombeni. This chapter depicts
different characters who had problems or challenges in life and the result thereof by
failing to accept the situation they found themselves in, by failing to resolve them.
Chapter five presents a summary of findings and recommendations of the researc
Reflection of the world of V. O. Sukhomlinsky's fairy tales in O. Ya. Savchenko's textbook literature
Get PDFАвтором розкрито питання відображення світу казок В. О. Сухомлинського у підручниковій літературі О. Я. Савченко.The author revealed the issue of the reflection of the world of V. O. Sukhomlinskyi's fairy tales in O. Ya. Savchenko's textbook literature
Sebilwane: Nepišo ya mongwalelo wa palate
No full textGe a hlopha Sebilwane, Serudu o re ga se thetokanegelo empa palate, mola Groenewald le Mojalefa bona ba re mohutangwalo wo ke thetokanegelo. Taba yeo e hlola kgakanego ya tlhopho ya mohutangwalo wo. Go rarolla bothata bjo, maikemišetšo a taodišwana ye a lebane le go hlaloša seo bangwadi ba mehutangwalo ye ya Sepedi ba rulagantšego dipharologantšho tša tšona ka tsela ya go se kgotsofatše, yeo e hlolago bothata bja karoganyo/tlhopho ya kgonthe ya mehutangwalo ye. Le ge go le bjalo, taodišwana ye ga eyo hlopha mehutangwalo yeo, eupša go lekola thulaganyo ya ditiragalo tša mohutangwalo wa palate le go tiiša ka fao sereto sa Sebilwane se nago le dipharologantšho tša palate. Mongwalelo o lebane le polelo le maikutlo. Ka polelo ya mongwadi, mmadi a ka kgona go kwešiša sengwalo le maikemišetšo a mongwadi. Mmadi o kgona go lemoga mongwalelo ge a bala sengwalo. Go ra gore polelo ya mongwadi e bohlokwa kudu ge go bolelwa ka mongwalelo, ka gobane ke yona yeo e kgonago go bopa segwera gare ga mongwadi le mmadi. Ke ka fao go thwego mongwalelo o tlemaganya mongwadi le mmadi ka mokgwa wa poledišano.
English Title: Sebilwane: Focus on the style of a ballade
When classifying Sebilwane, Serudu categorises it under a ballad, while Groenewald and Mojalefa classify it as a narrative poem. These two categories bring about confusion in the classification of this type of poetry. To solve this problem, the purpose of the article is therefore to explain how Sepedi writers mixed the characteristic features of both ballad and narrative poem when they wrote those types of poems, which influenced proper classification of this literary work. Notwithstanding, the aim of the article will not be to classify these types of poetry, but to analyse the arrangement of events of a ballad from the perspective of style and to establish to what extent Sebilwane complies with the characteristics of a ballad. Style pertains to language and feelings. With the author’s language, the reader is able to understand the text and intentions of the author. The readers get to know the style as they read. It means that the author’s language is very important when we speak about style, because it is the thing that can build a friendship between the author and the reader. That is why it is said that style of writing unites the author and the reader through communicatio
Teaching the History of Ukraine Course using the Textbook of O. Ya. Efimenko through the Prism of Regionalism
Get PDFАвтор розглядає викладання курсу історії України за підручником О. Я. Єфименко крізь призму регіоналістики.The author explores the course of history of Ukraine on the textbook by O. Ya. Efimenko through the prism of regionalism
Self-archiving practice and the influence of publisher policies in the social sciences
No full textAuthors in different disciplines exhibit very different behaviours on the so-called ‘green’ road to open access, i.e. self-archiving. This study looks at the self-archiving behaviour of authors publishing in leading journals in six social science disciplines. It tests the hypothesis that authors are self-archiving according to the norms of their respective disciplines rather than following self-archiving policies of publishers, and that, as a result, they are self-archiving significant numbers of publisher PDF versions. It finds significant levels of
self-archiving, as well as significant self-archiving of
the publisher PDF version, in all the disciplines
investigated. Publishers’ self-archiving policies have
no influence on author self-archiving practice
“Well: live long, black earth” (Nu, zdravstvuy, chernozem…): “I” of the author in the “chernozem” poetic “nest” of O. Mandelstam
No full textThe article explores the variety of voices of an author in the group of “black earth” (“chernozem”) poems written by O.E. Mandelstam in 1935, the character of relations among them, polyvalency of the key image of “soil – black earth – vegetable garden”. The author analyzes the peciliarities of rythmic patterns, specific character of a metaphor, the character of associative links in poetry of the later years of Osip Mandelstam
Symptoms of Imminent Eclampsia Among Women Attending Care at Muhimbili National Hospital: A Case Refferent Study
Get PDFPreeclampsia affects about 5 to 10% of all pregnancies and eclamptic seizure is one of its serious complications. In many developing countries including Tanzania, maternal and perinatal mortality due to eclampsia are high. As yet, primary prevention of eclampsia is not possible since the causes are largely unknown. Headache, visual disturbance, abdominal pain, nausea, and vomiting have been reported by various studies to precede most eclamptic seizures; thus could be used to predict and therefore prevent some cases given the availability of magnesium sulphate. These symptoms however are also common in normal pregnancy and post delivery mothers due to physiological changes of pregnancy and common disease conditions that usually affect pregnant women in our settings. The present study evaluated the characteristics of symptoms that are consistent with imminence of eclampsia This was a case referent study in which 123 eclamptic and 123 non eclamptic mothers that best matched in terms of age, parity, gestation age and delivery were enrolled, making a total of 246 women. The presence and characteristics of headache, visual disturbance, abdominal pain, nausea, and vomiting were enquired. A 4 grade scale was used to grade the severity of headache. In the rest of symptoms, common presenting features were utilized. Headache was common in both groups but was more frequent in eclamptic than in referent group of women (88% vs. 43%, p <0.001). In eclamptic mothers headache was mainly severe, frontal and most of the seizures happened within one week of the onset of headache, as compared to referent women where headache was mostly mild and either frontal or generalized. Visual problems were significantly frequent in eclamptics than in referent women, (39% vs. 3% p<0.001). Of the eclamptic mothers who presented with visual problems, 45(94%) had blurring of vision, 32(67%) had blind spots, 10(21%) had photophobia and only 7(15%) had total blindness. A total of 47(98%) of eclamptic mothers developed seizures within 12hours of the onset of visual problems. The frequency of abdominal pain was not significantly different between eclamptic and referent mothers (47% vs.38% p=0.156), however upper quadrant abdominal pain was significantly reported in eclamptic than in referent group of women (36% vs.9%, p=0.001). There was no significant difference on the type of abdominal pain presented by both groups. Nausea was common in both eclamptics and referent group of women (60% vs. 54%, p=0.303). There was no difference on presentation with vomiting among eclamptic and referent women (62% vs. 68% p=0.516) and in both groups the type of vomiting was commonly non projectile. This study has revealed that headache, abdominal pain, nausea and vomiting are common to pregnancy whether or not complicated by preeclampsia/eclampsia. The characteristics of headache, visual disturbances and abdominal pain differ between eclamptics and women without preeclampsia/eclampsia. In a pre eclamptic woman, an onset of a severe frontal headache or upper quadrant abdominal pain would suggest an occurrence of seizures within one week. Visual disturbance is the most ominous sign as seizures ensue within 12 hours of its onset. Nausea and vomiting cannot be reliably used to predict clampsia.\u
Women in African Drama: Representation and role
Get PDFThe purpose of this study is to examine the representation and role of women in African theatre. The discussion is based on published and unpublished plays by African writers selected from a pan-African perspective.
The thesis is divided into two major parts: Women in Society; The Portrayal of Women by Major Playwrights. Part I follows a thematic approach aimed at examining the position of women in three different areas which form the chapters for the part : Women, Tradition and Social
Change; The Urban Woman and Women in Politics. Part II of the thesis analyses major African playwrights' presentation of women characters. This part discusses not only the characterization of women by major playwrights but also these writers' attitude towards women and women's issues. Examined here in two chapters are The Portrayal of Women by
Major Male Playwrights and The Portrayal of Women by Major Female Playwrights.
Chapter 1, 'Women, Tradition and Social Change' discusses selected playwrights' examination of African women's experiences in the traditional African setting as a major foundation of the present and future socio-political situation of the continent; this chapter is the springboard
of the study.
From the traditional milieu the study then moves on to the
relatively new urban environment. This Chapter examines the predicaments in which the African woman finds herself as she struggles to survive in a world which differs significantly from the traditional one. Survival in the urban environment demands a certain degree of autonomy
from communal ties on the part of the individual. Yet in the case of the African woman, society does not hesitate to censure her movements and even to point an accusing finger at her for failing to satisfy traditional expectations when she is genuinely trying to meet the challenges presented by life in towns.
The myth that a woman's place is exclusively in the kitchen is a widespread one the world over. A more negative myth found in Africa is that participation of women in public affairs leads to social disaster. The third chapter of this study examines the role of African women in politics in the traditional and contemporary periods.
The fourth chapter discusses the portrayal of women by major male playwrights. Of great significance in this analysis is the attitude of these male writers towards women and also towards issues affecting women. It is for this reason that cross-references are made between these male writers and the female playwrights examined in Chapter 5.
Very negligible research has been done on drama by African women. It is in recognition of this unfortunate situation that the fifth and last chapter of this thesis is dedicated to women's self-perception as reflected in their portrayal of fellow-women in theatre. This chapter examines only major female playwrights; the minor female playwrights
are examined alongside the male in the appropriate areas in Chapters 1 to 3
Kanegelokopana ya I.T. Maditsi : Pheko ya pula (Sepedi)
No full textDissertation (MA)--University of Pretoria, 2008.Maditsi is one of the most significant authors in Sepedi literature. He has written various texts, including poetry, short stories and a novelette. He won the first award of the Samuel E Mqhayi prize awarded by the Suid -Afrikaanse Akademie vir Wetenskap en Kuns in 1971, with his poetry book Monamolomo bolela monatsebe o tlo go kwa. His exceptional writing proficiency have been recognised by a scholar such as Thobakgale (1996: 6), who writes: (Maditsi) could be called the leading author of the development of Sepedi short stories, because his short stories, namely Mogologolo (1970), Monyane (1974) and Dipheko (1985) are of high standard as compared to the initial ones as they have raised the standard of Sepedi short stories. The aim of this dissertation is to analyse Maditsi’ s short story ‘Pheko ya pula’ from the anthology Dipheko, as a traditional short story, with special reference to two levels, namely content and plot. When analysing ‘Pheko ya pula’, two strategies have been chosen, namely ‘to define’and ‘to intepret’. The reason is because in this research there are terms such as journey, patronage, etc, that require definition, as well as ideas (characters, events, design, title, theme, topic, technique, conflict and others) that require interpretation and are related to the topic. Furthermore, the model used in this investigation was the adapted narratological model developed by Groenewald (1993) and Mojalefa (1997). This model differ from older models developed by narratologists such as Genette (1980) and Strachan (1988), because it emphasizes that when one discusses content, topic is important. When plot structure is examined, theme is highlighted, and when style is investigated, atmosphere plays a very important role. With regard to the content level, it was revealed that content consists of four elements, namely characters, events, time and place. Furthermore, it was also discovered that characters are subdivided into two categories, namely main and minor characters. These major characters are kind- hearted person and quarrelsome person and they are described according to the following index: intention, patronage, resistance, assistance and patronised. In the short story ‘Pheko ya pula’, the kind-hearted person is Potego, while the quarrelsome person is Mathoma, because he opposes Potego’s kindness. If this text is read and studied intensively the reader realises that the assistance of the quarrelsome person, Mathoma is the resistance of the kind-hearted person, Potego, and vice versa. Events can be classified into two categories, namely essential and other events. The essential events are further subdivided into three categories, namely first, middle and last events. The concept of time at the content level is explained in terms of three categories, namely narratological time, historical time and indefinite time. Place is divided into two categories: the physical place where events occur and indefinite place. In analysing plot structure, three elements are important, namely theme, design and title, because theme links the events of the plot of ‘Pheko ya pula’. Title plays a significant role in distinguishing the name of the literary text and design identifies the type of literary work. Four phases of plot, namely exposition, development, climax and denouement, have also been examined as pillars of the literary text. In the exposition phase, the first conflict (local witchdoctors refused to find the rain charm for the Puding community) is discussed in terms of the following techniques: contrast, foreshadowing, naming, focus, repetition and others. Sequence of events, flashback, symbol and other techniques were used in the development. In the climax, the author used cycle, repetition and other techniques, while in the denouement he used flashback and foreshadowing. In conclusion, this research has also examined the way Maditsi has used the journey as a technique in Sepedi literature, because ‘Pheko ya pula’ is based on a journey from the beginning to the end. The author has used this important technique with consummate skill.African Languagesunrestricte
Kagego ya padi ya Phitlhelelo kwa setlhoeng ya ga J Malao: Construction of the novel Phitlhelelo kwa setlhoeng by J Malao
No full textPadi le kgankhutshwedi batlile go bopega ka mokgwa o o tshwanang. Kgankhutshwe e ngangegile thata go gaisa padi. Seno se dirwa ke gore mopadi o na le nako ya go tlhalosa ditiragalo ka tsenelelo, mme ga a gapelediwe ke sepe go ngotla tiriso ya mafoko, mme mokwadi wa kgankhutshwe ena, o eta a nna bofitlha. Patlisiso e, e leba ka moo padi Phitlhelelo kwa Setlhoeng e agilweng le ka moo e tsamaelanang le diponagalo tse di farologaneng tsa padi ka gona. Ditiragalo le diponagalo di tla tlhalosiwa go lebilwe ka moo ditiragalo di phuthologang ka gona. Sa botlhokwa ke go tlhola gore a padi e, e kgotsofatsa ditlhokego tsa go nna padi e e kwalegileng sentle, e e tseetsweng matsapa. Mokgwapatlisiso o o dirisitsweng mo patlisisong e, ke wa naratholoji. Padi e, ga e a tlala thata go nna padi, bogolo e ka nna patsana gonne ditsejwana tsa yona di mokawana. Se sengwe ke gore mokwadi o kgonne go ntsha bokgoni jwagagwe gonne patsana e, e na le diponagalo tsotlhe tse di agang padi.
A novel and a short story are nearly written in the same way. A short story is shorter than a novel. This is because a short story writer does not have ample time to describe events lengthily. He dwells much on giving an account of how events happened without having to explain each and every event. This article attempts to showcase how this novellete has been written and checks whether it qualifies to be a novel or a novelette. The findings are that the novel has been written well and that the language usage is satisfactory as the author utilised the idiomatic expressions and other parts of speech to enrich the language
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