Pub Date : 2023-01-02DOI: 10.1080/02572117.2023.2200456
Rethabile Possa-Mogoera
The main objective of this article is to investigate the naming technique in Maphalla’s drama Tahleho. Naming is a very important tool used in various African cultures to convey certain messages, either to an individual, family members, or a community. The naming of various objects is linked with the socio-political factors of countries where anthroponyms and toponyms are found. Naming in literary work also plays a role in any genre. Many African authors use a certain naming technique to achieve their objective. Names are bestowed on characters with a purpose. Maphalla seems to have used a certain naming technique to develop his story. In literary works, choices of names should not be undertaken randomly but should contribute to the development of the elements of the genre. Characters are given names to show their significance in the development of plot structure, characterisation, theme, and style in literary art. This study will adopt literary onomastics, which is concerned with the significance of names in literary works to investigate the naming technique used in Tahleho. To achieve this, Maphalla’s drama Tahleho will be analysed, looking specifically at the naming of characters.
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Pub Date : 2023-01-02DOI: 10.1080/02572117.2022.2132694
C. Ngele
Translation as an exercise was born out of the need to comprehend texts written in foreign languages. There are two sides to this comprehension; the text and the reader of the translated version. Every literary text has its target audience; in the same manner, the translated versions have their target audiences. In translating, one tries to create a text that would be comprehensible to the target audience; to effectively create this, one must consider several factors, one of which is culture. Culture is often richly represented in literature. This study aims at finding a solution to one of the problems of literary translation: the means of depicting European culture to an African audience. The study illustrates the relationship between Halliday’s systemic functional linguistics and translation through translating Hector Malot’s novel Sans Famille (2006) from French to Igbo. To adapt the translated version to an Igbo audience, French cultural elements are replaced with those existing in Igbo culture, but having the same meaning as those seen in the French text. This is known as cultural adaptation or transculturation. This study realises transculturation by applying the semio-pragmatic translation theory. The result shows that transculturation leads to the creation of a new text.
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Pub Date : 2023-01-02DOI: 10.1080/02572117.2023.2200484
Mathai Monyakane, E. N. Malete
Evaluative language includes any linguistic expressions (written or spoken) that may be perceived as conveying stances or attitudes (feelings and views) towards entities and people in the real world. It also utilises the material presented and the parties involved in the communicative exchange. The poetic text is that which utilizes numerous figures of style to provide emotions and feelings while respecting the criteria of the style of the author. Regarding Maphalla’s anthologies, several South African scholars have worked on his literary works from various literary approaches, but have not used appraisal theory in their analysis. The central aim of this study is to investigate, employing the appraisal framework, a theoretical tenant of systemic functional linguistics, the way language is used evaluatively in Sesotho in Maphalla’s poem, ‘Ditema’ (decoration patterns). This study maintains that there are more positive words used in this poem, indicating that the poet uses the judgement of social esteem, praising hard work and commitment and that there are also social sanctions in the poem, where the poet scorns laziness.
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Pub Date : 2023-01-02DOI: 10.1080/02572117.2023.2200471
P. Phindane
This article is a conceptual study of onomastics in KPD Maphalla’s novel, Kabelwamanong, focusing on the naming of characters and places. The study intends to determine the extent to which naming is utilised as a technique to show how the author presents his characters and how they contribute towards the development of themes in this text. Maphalla’s choice and use of names is deliberate, and the technique makes a significant contribution to his narrative. The author is aware of the power of names and naming. The study reveals that in Kabelwamanong, Maphalla makes good use of names and naming to express opinions or make philosophical comments about characters and the roles assigned to them. Names, therefore, assist in identifying character types, reflect philosophical and moral positions that characters represent, and provide hints to the meaning of the text. The article concludes that names in Kabelwamanong are not mere decorative strategies, but rather vital aspects of literary art. The quality of the narrative could be improved by the way the naming technique is used in this text.
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Pub Date : 2022-09-02DOI: 10.1080/02572117.2022.2132692
Lickel Ndebele
In African cultures, the Ndebele included, a strong society is one that is made up of healthy and robust family relationships, with the family institution serving as a foundation for the survival and continuity of society. However, the frequency of divorce nowadays suggests that the foundations of marriages are not as strong as they ought to be. Thus, this article seeks to examine how traditional Ndebele society has always sought to help couples to prevent or to manage marital challenges that could destabilise marital bonds and trigger marital failure. The article also attempts to find out if there are lessons that could help with marital distress and failure, single parenthood and many more issues on the increase in the embattled marriage institution. This examination is mainly done through a philosophical analysis of traditional wedding songs. Wedding songs are structured cultural expressions that reflect society’s marriage values and its efforts in the promotion of marital stability and success. The article adopts the theory of Africana womanism. The theory is critical here because of its commitment towards the stability of the family. The data was collected in Tsholotsho District in Zimbabwe from 2016 to 2019 through interviews, group discussions and participant observation.
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Pub Date : 2022-09-02DOI: 10.1080/02572117.2021.1948227
Thomas Sengani
There is an unfair view that writers in African languages are artists who mostly focus on aspects of literary genres such as theme, plot, characterisation, conflict, setting, time, language and style. From a thematic point of view, Mathivha’s (1974) drama Mabalanganye is often regarded as one that depicts the Tshivenḓa-speaking community of yesteryear, when African royal leadership were a law unto themselves. Some see it as a mythical story in which Mathivha illustrates and reconstructs some failed African history. The purpose of this article is to demonstrate through critical language awareness, and the social constructionist and ethnography of communication theories how Mathivha employs elements of drama to highlight the sociocultural and political life of identity creation and social relations among the Vhavenḓa people of South Africa. Mathivha uses epithets such as titles, clan names and praise poetry as both referential expressions and address names to demonstrate how they construct identities that establish social relations between royal leadership and their subjects, in order to illustrate participatory nationbuilding endeavours. Through these expressions, Mathivha further illustrates how African indigenous knowledge is regenerated to be lived and experienced as a sociocultural and political resource.
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Pub Date : 2022-09-02DOI: 10.1080/02572117.2022.2139938
L. Makhenyane
Despite the substantial research on poetry produced by female Xhosa poets on sociopolitical issues, there is little commentary on their poetry on sociocultural issues in the post-apartheid era. As a result, their voice and role in sociocultural issues is misunderstood. Using textual analysis, this article critically analyses Mbungwana’s sociocultural protest in her poem ‘Ababuyanga’. The poem stems from the death of her brother, who went to initiation school and never returned. Mbungwana notes that her brother had not come back yet, as women, they were not supposed to talk about it or even ask what had happened at the initiation school. This article uses the theory of African feminism to consider Mbungwana’s protest against the sociocultural oppression of women. Mbungwana argues against keeping information from women and silencing them on issues of ulwaluko (loosely translated as male circumcision and initiation rites), even when they lose a loved one. She argues that women are intellectually capable of being part of the solution to the problem of dying initiates, without compromising the secrecy and sacredness of the custom. The analysis of Mbungwana’s protest contributes to the understanding of voice and the role of women in sociocultural issues.
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Pub Date : 2022-09-02DOI: 10.1080/02572117.2022.2139943
Johannes Seema
SM Mofokeng’s dramatic text Senkatana (1982) is a classic Sesotho tragedy. The drama has been adapted from the well-known Basotho folktale Moshanyana wa Senkatana. There are also certain authors that inspired Mofokeng to create Senkatana. Intertextuality has played an important role in creating Mofokeng’s masterpiece. The protagonist is Senkatana, whose fall is caused by his own good intentions. Audiences and readers develop pity and horror for Senkatana for the situation in which he finds himself. No one can help him emerge from his circumstances, nothing can help him choose the safe way as opposed to the tragic one. Senkatana, the tragic hero, does not make decisions independently, because badimo, the ancestors and God, control his destiny, and he cannot fight badimo and God. The central argument in this article is that Mofokeng’s dramatic text attains meaning from other texts and authors. Senkatana’s meaning appears to be content-bound, but when readers look at its content, it is boundless because it refers to other previous texts. For the purpose of this article, the theory of intertextuality will serve as the point of departure to investigate the manner in which folktale, Greek tragedy, Shakespeare and the Bible generate meaning in the act of Mofokeng’s writing of Senkatana.
{"title":"Mofokeng’s dramatic play, Senkatana, epitomises intertextuality","authors":"Johannes Seema","doi":"10.1080/02572117.2022.2139943","DOIUrl":"https://doi.org/10.1080/02572117.2022.2139943","url":null,"abstract":"SM Mofokeng’s dramatic text Senkatana (1982) is a classic Sesotho tragedy. The drama has been adapted from the well-known Basotho folktale Moshanyana wa Senkatana. There are also certain authors that inspired Mofokeng to create Senkatana. Intertextuality has played an important role in creating Mofokeng’s masterpiece. The protagonist is Senkatana, whose fall is caused by his own good intentions. Audiences and readers develop pity and horror for Senkatana for the situation in which he finds himself. No one can help him emerge from his circumstances, nothing can help him choose the safe way as opposed to the tragic one. Senkatana, the tragic hero, does not make decisions independently, because badimo, the ancestors and God, control his destiny, and he cannot fight badimo and God. The central argument in this article is that Mofokeng’s dramatic text attains meaning from other texts and authors. Senkatana’s meaning appears to be content-bound, but when readers look at its content, it is boundless because it refers to other previous texts. For the purpose of this article, the theory of intertextuality will serve as the point of departure to investigate the manner in which folktale, Greek tragedy, Shakespeare and the Bible generate meaning in the act of Mofokeng’s writing of Senkatana.","PeriodicalId":42604,"journal":{"name":"South African Journal of African Languages","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49136585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/02572117.2022.2139941
Richard Lephethi Moloele
Padi 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 jwa gagwe gonne patsana e, e na le diponagalo tsotlhe tse di agang padi.
Padi le kgankhutshwedi batlile去了一个叫mokgwa到tshwanang的地方。我很高兴，我也很高兴。我的父亲是戈雷·莫帕迪，我的母亲是蒂特拉加洛和采内莱洛，我的父亲和母亲是蒂里索·玛福科，我的妻子是卡甘胡特什韦，我的丈夫是波菲特哈。Patlisiso e，e leba ka moo padi Phitlheleo kwa Setlhoeng e agilweng le ka moo e tsamalanang le diponalo tse di farologaneng tsa padi gona。放弃tla tlhalosiwa go lebilwe ka moo ditiragalo的diponagalo ka gona。这是一个很好的例子，我是一个非常好的例子。这是一个很好的例子。帕迪，这是一个很好的选择，波戈洛和帕萨纳的裙子都是莫卡瓦纳的。如果我们必须去莫克瓦迪或克贡，那就去恩沙博克戈尼jwa gagwe裙下的patsana e，e na diponalo tsotlhe tse of agang padi。
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