African Languages

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The educative value of folk tales among the Zulu
(University of Zululand, 1981) Msimango, Peggy Busisiwe
The aim of this paper is to bring forth the educational value of folk tales as well as the relationship that existed between grandmothers and grandchildren. Education is an old phenomenon amongst Zulus. It existed long before the white man came with a formal type of school.
The historical novels of Jessie Joyce Gwayi
(University of Zululand, 1985) Mayekiso, Amlitta Cordelia Theresa-Marie; Ngcongwane, S.D.
In the first chapter we are given the biography of Joyce Jessie Gwayi, including a section on her domestic position, her present occupation and her state of health. It is her state of health that has made it impossible for her to undertake any further literary work. This has been the worst drawback to the budding Zulu historical novelist. Here also a few writers of various Zulu books are reviewed. Most of these books found their way into the classroom because there had been no Zulu literature except the Holy Bible. This was so chiefly because, for a long time, schools belonged to missionaries whose primary aim was to bring the Christian Gospel to the Black people. Moses Ngcobo, Gwayi's husband, inspired her because, as a novelist, he had already written the historical work on the Xhosa National Suicide. Gwayi wanted to write about Dingiswayo Mthethwa, her ancestor, after discovering through research that the names Gwayi and Mthethwa were synonymous, used in the Transkei and Natal respectively. She discovered that Shaka Zulu grew up under the guidance of Dingiswayo Mthethwa and that after uniting the Zulu and the Mthethwa Tribes, he initiated a period of conquest. Gwayi seems to have been interested in this period which is known as "Difaqane" and thus used the Tlokoa Tribe, with its 'warrior queen', as the subject of her first novel Bafa Baphela, It was after the completion of this novel that she wrote Shumpu after which she wrote the third book Yekanini. The theme, structure and plot in each novel conform to the pattern as has been diagrammatically represented in the dissertation. There is exhibited a very well developed sunrise, noontide and sunset trend in each novel. /To To achieve this the novel must have a variety of characters. We find Gwayi's heroes and heroines behaving realistically, especially in view of the fact that some of them are real historical people. Both her simple and complex characters behave very much like ourselves or our acquaintances. There are characters central to the plot and also those who are included simply to enrich the setting of the story. Gwayi even has characters who are ancestors of living people. In Chapter Four, the milieu of Gwayi's books is discussed. Ancient people have a different culture from modern people so that as her characters lived prior to westernization, they conform to their environment. This aspect is obtained from traditional and oral history because Zulus were, up to then, illiterate. Attire, food and religion, however, remained largely unchanged for a long period of time. Ancestor worship, it is true, has been disturbed by the introduction of Christianity. On the military side it was Dingiswayo Mthethwa who regimented his warriors and Shaka Zulu who revolutionized the method of fighting by introducing a short spear (Iklwa). It is the style, language and technique that disclose the fact that the novels have been written by two people. (Gwayi confirmed this fact to the author.) The language in the first two books leaves much to be desired. For example, some expressions are used in such a manner that a non-Zulu reader may be confused. This is regrettable since Gwayi cannot now do anything about it. The language of the third book is good. The structure could have been Gwayi's, but Ngcobo so deftly manipulated the language that this book proves to be the best of the three. Ngcobo ends the book so conveniently that the reader becomes anxious to know what happened to Zwide Ndwandwe and Shaka Zulu when Dingiswayo had gone. It leaves the reader with a wish to read his next book, which deals with the conflict between Zwide and Shaka. It is unfortunate that Gwayi and Ngcobo do not revise and edit the books to the advantage of the future Zulu reader.
An analytic study of sonnets in Zulu
(1987) Mlondo, Anthony; Ngcongwane, S.D.
This study has been made possible by our desire to look into the feasibility and effectiveness of the Western poetic devices in the writing of sonnets in Zulu. In chapter one the aim of this study is clearly spelt out. We hope that at the end of the investigation, we shall come out with some suggestions and possibilities of a Zulu type of a sonnet, for, we feel that there was a reason for the English to choose a different style from the Italian. The second chapter deals specifically with the definition of terms. These include, inter alia, the concept "sonnet" as espoused by various linguists; iambic pentameter and the rhyme scheme. In chapter three we firstly defined the major characteristics of sonnets. These major structural features of a sonnet are clearly depicted in Kreuzer's (1955:224) definition of a sonnet, that a sonnet is: a fourteen-line lyric poem, in iambic pentameter, following one or more rhyme schemes. It is clear, therefore, that a sonnet should consist of fourteen iambic pentameter lines and should follow a required rhyme scheme. Furthermore, in this chapter, the two types of sonnets were briefly outlined, namely the Petrarchan or Italian and the English or Shakespearean. The fourth chapter dealt with the formal elements of the three selected poets* sonnets in this investigation, namely, Ntuli, Masuku and Nxumalo. We looked closely into the division into fourteen lines, the iambic pentameter as well as the rhyme scheme that is being followed. As we scrutinised all the sonnets, these poets have contributed, with regard to these three external structural features, we also paid particular attention to their significance, that is, whether they contributed anything towards the delivery and portrayal of ideas contained in each sonnet. Content in Ntuli's,. Masuku's and Nxumalo's sonnets is analysed in the fifth chapter. In our analytic study of content, we looked closely into what each poet was writing about - the proposition each was advancing or the story each poet was telling in each sonnet. We came across a variety of subjects ranging from those discussing death to those that were purely social and political, and those with a religious background. We also looked closely into the approaches and artistic devices which the sonneteers employed in the portrayal of the ideas in their works of art. We noticed that these ranged frcm the less effective straight-forward prosaic narration to the more concentrated use of vivid imagery coupled with the rich and well-chosen words and ideophones. In this chapter we also examined the effectiveness of rhyme in the portrayal of content. In chapter six we analysed Ntuli's, Masuku's and Nxumalo's sonnets with particular attention on the meaning that is conveyed in each of the sonnets they have contributed. We also looked very closely into the techniques the poets employed to relay the four aspects of meaning to the readers, namely, Sense, Intention, Feeling and Tone. We also examined the effectiveness of Masuku's rhyme in the conveyance of the meaning in the sonnets whether it was contributory or not. The possibility of a Zulu type of a sonnet is dealt with in the seventh chapter. The last chapter is the general conclusion where all our observations and suggestions are summarised.
Naming in the Mzimela tribal area
(University of Zululand, 1988) Mdletshe, Nonhlanhla Diligence; Ngcongwane, S.D.
Naming among Black people results from specific events that have taken place prior or after a certain occurence, for instance, some places and personal names, are named after some historical events and family matters that has taken place. The main aim in this research paper is to get and follow some few aspects that are used and considered by people in this area when naming things such as places, persons, praises, howesteads, drifts and other living and non-living things.
African culture and its influence on the hymn
(University of Zululand, 1988) Khwela, Princess Phiwakahle.; Nqconqwanc, S.D.
The aim of study is to motivate cultural heritage amongst Africans, to despise the past in their musical ability and be self-!'reliant and original instead of imitating the Western musical systems entirely.
A study of traditional Zulu names
(University of Zululand, 1988) Gumede, Khanyisile Maureen Thembelihle.
The study deals with Zulu names of people as a prominent culture trait of the Zulus. It is a universal pattern of culture that every newly born child IS given a name to identify his nationality, sex and also his personality from any other human being. Although this is common in all rlatlons, each nation has its own unique concept of dOIng it. For example in western countries names are maintained and used In the family generation, that is why we always hear of Elizabeth 11, George V, King Edward VIII etc. As a matter of fact the Zulus, like other nations, follow their own concept In naming their children. With them every person has a number of different names by which he/she is known at home and In the outside world. These names include the first name (which IS given to him/her at his/her birth or a few days after birth) ,his/her clan name and also other additional names he/she acquires as he/she grows up. These names are all given from a particular point of view and sometimes with a particular purpose In accordance with Zulu culture. These names are a subject of this paper.
Some aspects of assimilation in Southern Sotho with special reference to vowel raising
(1988) Mahlasela, Esau Mohlophehi Rramatsa.; Ngcongwane, S.D.
This dissertation treats Vowel Raising as a part of Assimilation in Southern Sotho. Assimilation as a concept in any language is a broad concept that includes consonantal and vowel- influences that have been juxtaposed. The influence may be between two vowels in juxtaposition i.e. [i] next to [e] produces [e] . [u] next to [ O 3 or E E 3 also produce the allophones of two vowel phonemes i.e. E C> 3 and EE3 respectively. In short, when close vowels are juxtaposed to open or semi-open vowels, raising will take place. Exceptions may occur sporadically. This study has been treated in eight chapters. (a) CHAPTER ONE Theoretical background and motivation to the study are given. An hypothesis that [ £ 3 and E J3 as allophones are non-semantic, is given. (b) CHAPTER TWO Common Bantu and Ur-Bantu are discussed. The aim is to trace how far they had influenced the development of the present Southern Sotho. Different types of Sotho v/charts are treated. (c) CHAPTER THREE The origin of the Vowel Charts in respect of the IPA is discussed. All what pertains to IPA alphabet and its usage is treated. (d) CHAPTER FOUR The Vowel treatment of I) P Kunene and D T Cole are critically discussed- The two are the great contributors to the study of Vowels in Sotho. (e) CHAPTER FIVE Southern Sotho Vowel chart is made from the research findings. (f) CHAPTER SIX The Concept Assimilation is treated in full. (g) CHAPTER SEVEN Vowel raising as a concept is fully treated. CHAPTER EIGHT i) In order to grasp Vowel Raising correctly an attempt at its codification has been done. This approach has contributed greatly to the. study of Vowel Raising. ii) In conclusion it has been discovered that [e] and Co] are phonemes identical with Cardinal vowels numbers 2 and 7. They are not the allophones of [E] and [a 3 as Kunene argues.
A comparative study of the influence of the nasal prefix `N' ( from UR- BANTU "NI-") on succeeding consonants at the beginning of some lexical items in Zulu, Xhosa and Southern Sotho
(1990) Lephallo, Amos Thabo
In any language, words are uttered systematically according to certain rules. Each language has therefore its own system. Language may be defined as "a system of utterances governed by a set of.rules". In a language there are partial systems such as Phonetics, Morphology, Syntax, etc. Wnen these partial systems are put together they form a unique system of a particular language. Phonetics is the study of a single speech sound. A word is made up of a number of phonetic units.
The possessive in Zulu
(1990) Sabelo, Nonhlanhla Omic; Posthumus, L.C.
This study is a review of the Possessive in Zulu. Many grammarians that have dealt with the possessive in Zulu over—emphasised the structure of the possessive thus very often neglecting the meaning of the possessive in Zulu, and the so-called unmarked possessive. Different approaches to word identification have been discussed. The implications of the two approaches to word identification for the possessive in Zulu, namely, the conjunctive5^ and the semi- X conjunctive approach, have been discussed. The conjunctivists indicate that the possessive is one word made up of three parts, the agreement morpheme, the possessive norpheme and the possessor. e.g. i + a - urafana yomf sr. = ■' of the boy ! The semi-conjunctivists indicate that a possessive consists of two words, namely, a possessive particle and a complement- e.g. ya-umfana ' (of the boy) Possessives that are direct in manner have been distinguished by inter alia Dotee- These possessives are semantically and morphologically regular. e.g. ibhola lomfana (the ball of the boy) Some structures do not include the possessive particle and yet they do carry a possessive meaning. e.g. uyihlo (your father} There are possessives that are indirect in nature, having possessive particles, but which do not imply true possession. The noun-possessor, and the noun-possessee are thus not semantically in a true possessive relationship in an example such as the following. e.g. intalantala yomsebenzi (a lot of work) Possessives which are structurally irregular in that they contain no possessive particle, are also discussed in this study. The possessor and the posses see are in a part-whole relationship in this sentence. e.g. ngiphule umfana ingalo (I broke the boy * s arm)
Code-switching among students at the University of Zululand
(University of Zululand, 1990) Mqadi, Praxedis Fikile; Mosisidi, B.P.
The purpose of this research is to investigate why students at the" University of Zululand code-switch. The research focuses particularly on environmental and social factors which lead students to code-switch. It also looks into the functions of code switching. On the whole it is intended to contribute to the findings already made on code-switching. Many researchers have found out that people tend to code switch because it has become a habit to do so. Such a reason does not sound linguistically convincing to me. Others claim that people code-switch because they want to display their 'education' or that they come from urban areas or townships. This again is not convincing enough since code-switching is a reality and would seem to come naturally. It is not something one does when one feels like it is usually done unconsciously.
Some structural and contextual aspects of W.M.B. Mkhize's short stories
(1991) Khathi, Themba Mizrael; Ngcongwane, S.D.; Ntuli, D.B.Z.
In this study an attempt is made to expose the importance and the place of Mkhize's short stories. So far there isn't much scientific material on this subject although the writing of short stories appears to be gaining momentum. We are also tackling the structural aspects of Mkhize's short stories. Mkhize is one of the prolific authors of short stories. He has written the following anthologies of short stories: Ezomhlaba Kazipheli (1972) Emhlabeni Mntanomuntu (1977) Ngiyeke Ngezomhlaba (1980) Uyothi Wabonan* Emhlabeni (1981) Kunjalo-ke Emhlabeni (1981) Indications are that many more stories are still going to appear. (Bard Publishers Price List and Catalog: September 1989. ) In chapters two, three, and four we are looking at the structural aspects i.e. plot structure in Mkhize's short stories, characterisation and setting. In chapter five we are dealing with Hkhize's style where we look at his titles, language and narrative techniques. In chapter six we are dealing with the contextual aspects of short stories. The contextual aspects go with the textual aspects. Under the contextual aspects we have themes. We feel convinced that MJchize's short stories deserve a place In our literature.
The structure and content of Zulu essays with special reference to those of C.S. Ntuli.
(University of Zululand, 1991) Zulu, George S'duduzo; Ngcongwane, S.D.; Ntuli, D.B.Z.
This dissertation discusses the structure and content of C.S.Z.Ntuli's essays. The study however covers a wider scope, from the origin and development of Zulu essays. It also concentrates on the subjects discussed by Ntuli in his essays. Ntuli's essays have been chosen because Ntuli is regarded as the best Zulu essayist at present. The study have been treated in six chapters. CHAPTER 1 In this chapter motivation and scope that will be covered by this research have been laid out. This chapter also includes different definitions of essays by different scholars. An attempt has been made to select only those definitions which define Ntuli's essays accurately. The origin and development of essays are also dealt with in this chapter. It is pointed out that; though this genre is old, its development was very slow in Zulu. This Chapter also makes an attempt'to explain clearly how the essay differs from a short story. Emphasis is laid on structural differences of these two genres. CHAPTER 2 This area is the centre of this research- It exposes the structure of essays, concentrating on the components of the essay. The difference between the introduction, body and conclusion have been di scussed thoroughly. The chapter also deals with the uses of the components by the essayist. It shows how the components are used interchangeably in each essay. CHAPTER 3 This chapter deals with the different types of essays written by C.S.Z. Ntuli. These include the expository, medidative, narrative and the persuasive essays. CHAPTER 4 This part deals with the contents of Ntuli's essays. It refers to subjects which Ntuli discusses in his essays. A variety of subjects are discussed by the essayist. Though an attempt has been made to group essays according to content, a problem of overlapping subjects could be observed. CHAPTER 5 This portion concentrates on Ntuli's style. It exposes techniques the essayist uses when writing his essays. The chapter shows clearly that the essayist can handle language properly and in the best way. CHAPTER 6 This chapter deals with findings and observations revealed by this research. It was observed that Ntuli contributed a great deal in the field of literature as a whole with these essays. Ntuli's essays are also interesting, convincing and educative.
Meaning in D.B.Z. Ntuli's poetry
(1994) Mlondo, Anthony; Hlongwane, J.B.
This study has been made possible by our desire to analyse critically p.B.Z.Ntuli's poetic contributions. An examination of the various themes covered by Ntuli in his poetry received our particular attention and scrutiny. Emphasis was, however, on the techniques this literary artist has used to relay meaning to his readers. An attempt was made to assess and evaluate his poetry in order to examine more closely the degree of Ntuli's success in the delivery of meaning to his audience. It is hoped that in the final analysis, this study will spell out some of the devices or techniques that can effectively portray meaning in Zulu poetry. The first chapter gives in brief outline what our aim in this study is. Our concern over the rigid following of Western structural poetic patterns, at the expense of the primary essentials of poetry, has been indicated. An attempt has also been made to map out, in brief, the scope and approach and direction that we shall follow in the scrutiny of meaning in Ntuli's poetry. The second chapter deals with the theme on historic events in mankind - those unforgettable events that befell the people in general or a particular portion of the society. Events through tragic accidents and those religiously based have been treated. In the third chapter we shall look closely into those poems that deal with a musical theme. These range from mere appreciation of music to the glorification of a particular composer. The discussion in the fourth chapter is prompted by the poet's love and appreciation of nature. This chapter therefore, explores those poems on the theme on nature. The fifth chapter handles poems on the religious theme. These range from the ordinary praise of God's creation to fears about the final judgement day. In chapter six we examine poems on water. Rain-water as a source of life as well as severe effects of drought have been given our attention. In the penultimate seventh chapter we shall scrutinise the poems that explore the death theme. The eighth and final chapter will be a general conclusion which will contain the main findings and observations made in this study.
The portrayal of themes in Blose's Uqomisa mina nje uqomisa iliba
(1995) Khumalo, Zamokwakhe Lincoln Mthokozisi; Hlongwane, J.B.
Blose, in the drama Uqomisa Mina Nje Uqomisa IIiba, seems to portray many things, especially love at various levels among people. The idea of love appears to be the central theme of the drama whereby the dramatist shows how different kinds of love are intertwined. The dramatist goes on a step further to unfold the extremes of love when it is blocked and redirected by forces which stand against it. One important aspect that requires a thorough investigation is how blocking and redirection affect individuals and their relationship with the community. 1.2 MOTIVATION OF THE STUDY Blose in his drama Uqomisa Mina Nje Ugomisa IIiba depicts various kinds of love. Among them, there is patriotic love, parental love and love as shown by the behaviour of young people. These kinds of love are somehow intertwined. The analysis will, among other things, investigate the influence of one on another. 1.3 AELD OF RESEARCH The field of research is restricted to the work of Blose, Uqomisa Mina Nje Uqomisa IIiba. Blose is the author of two books, namely Inkondlo KaNobantu and Ugomisa Mina Nje Ugomisa lIiba. The former is a poetry book and the latter is a drama. The field of research is basically in the drama book Ugomisa Mina Nje Ugomisa lIiba. In this book, only the themes of love will be critically investigated, analysed and evaluated.
The noun prefix in Zulu : intra and inter phenomena
(1996) Xala, Zweli Effort; Hlongwane, J.B.
In this work an attempt is made to discuss a noun prefix in general. Particular attention is given to moving away from the thought that the noun prefix is only the part of the noun that is agreement giving. It also incorporates elements that are non agreement giving. The simple noun prefix is differentiated from the composite noun prefix. Criteria of discerning the simple noun prefix are given, viz. phonological, syntactic, morphological and intergrated criteria. Once identification of the simple noun prefix is properly handled, it is only then that one is able to identify the composite noun prefix. The composite noun prefix has more than one morphological entry. Compound noun prefixes have series of simple prefixes while complex noun prefixes have an additional element bearing some semantic content. The noun ubuntombi and isangoma have composite noun prefixes. The noun ubuntombi has a series of simple prefixes therefore compound, in ubu- (cl. 14) followed by -in-(cl.9) forming a compound ubu-fOn. On the other hand the noun isangoma. over and above the series of simple prefixes isi; (cl.7) and -in- (cl.9), has an additional element ^a-, hence the complex prefix isi-a-in- . The identification of composite noun prefix contributes to a proper identification of the noun stem. From nouns ubuntombi and isangoma the noun stems are -thomb(a)-i (become of age) and -goma (heal), rather than *-ntombi and *-angoma respectively. The identification of composite prefixes is lexicographically friendly, wherein a dictionary the entry would be -goma (heal) rather than -angoma fNkabinde. A.C. (1982:1) Doke CM., Malcolm D.M. & Sikakana. J.M. (1958:4) and Doke, CM. & Vilakazi, B.W. (1990:11)). Of interest, to confirm the importance of composite prefix identification, is a related word to isangoma. viz. ubungoma. At present the entry for ubungoma is -ngoma (Doke,C.M. Vilakazi B.W. (1990:557)) whereas that of -isangoma is -angoma. Infact both nouns ubungoma and isangoma must have the same entry as -soma. The noun ubungoma has a compound prefix ubu- (el. 14) and in^ (cL9), as ubu-in-; whereas isangoma has a complex noun prefix isi-a-in. The dynamics of the (simple) noun prefix is vested on what is termed evolution of the noun prefix in this work. The noun prefix undergoees changes. The changes within the noun prefix is at present literature mixed with morphological constraints brought about by the phonological shape of the noun stem. The noun prefix with [+High] vowels is susceptible to change. The noun umufana has the noun prefix umu- but it changes to urn- as in umfana without being constrained by a vowel initiated stem. This is evolution experienced by a noun prefix. Some changes become permanent and others remain temporary. Permanent changes necessitate sub-classes. The noun ugogo has the noun prefix that evolved from umu- The fact that the changes from umu- to um- to t£ have ultimately caued u- to be a permanent evolutionary form then it sub-classes to umu- Scholars in Zulu have noted the sub-classes but without showing how they came into being. The noun prefix is generally known to play arole of giving agreerfient to other word forms with which it co-occurs. The role of the noun prefix goes beyond agreement giving. This work reveals other roles significant to the noun prefix, viz. deictic, emotive and meaning-structure significances. A fully fledged simple noun prefix signals to a 3rd person, pointing to non-proximate object. Spatially, it points yonder. If a speaker does use a fully fledged noun prefix he (generally) has a reference to the hearer (nearer to him), or even himself. The following utterances will indicate the positions: Umuntu uhambile. (A person has gone.) The reference 'umuntu' is not somewhere near the speaker, because of umu- fully fledged noun prefix. But, if the noun prefix is used without the initial prefix, we have: Sukuma mfana (Stand up boy!) Sengjshiio mina mthakathi wezindaba. (I have said it I of the daring one.) The reference is near the speaker. The reason being that the noun prefix has not been used in its rully fledged form. Non-emotive nouns become emotive if the noun prefix is used without the initial vowel in nouns that pertain to body and belongings. Hamba lapha sidwaba senja. (Away from here you the skirt made of dog's skin.) Woza lapha mhlathi wakho. (Come here you jaws of yours!) The nouns sidwaba and mhlathi are now emotive as against normal nouns isidwaba and umhlathi. The meaning contained within the noun prefixes makes the noun stem to be selective as to which noun prefix to append/affix to give to a particular meaning to the noun. The range of meaning within nouns is falling within the broad spectum of [+ Human] to [-Concrete] vested on the noun prefix. Hendrikse, A.P. and Paulos, G. (1992:195-209) refer to this spectrum as a continuum interpretation of the Bantu noun class system. They visualise the continuum interpretation as ranging from [+ Concrete] to [- Concrete] (abstract). In this work [+ Human] feature is cosidered to be the one that plays an important role as this feature may be found from class I umu- as in umukhwe (father-in-law) to class 11 as in u(lu)hlanva (madman). In Hendrikse and Paulos (1992:203) class II is interpreted as attributive class. In this work [+Human] feature has been used as a diagnostic measure, hence [+Human] and [-Concrete] dichotomy. Also of importance in meaning-structure significance is the interaction of meaning within the composite prefix. This work looks closely how 'noun prefix' within the composite prefix inteact in terms of meaning to effect their composite structure. In the nooun ubunja (dog-like behaviour), we have composite noun prefix ubu-in-. The noun ubunja is derived from the noun inja with only simple prefix JHK The in^ prefix is [-Human, + Concrete], and the ubu- prefix is [-Human,-Concrete]. After preposing ubu- to inja deriving ubunja. the composite nun prefix ubu - in' becomes [-Human - Concrete]. The interaction is that the ubu- features dominates over the in- features. The aspect of'dominance' goes hand in hand with percolation' of Leber (1981), Selkirk (1982), Mbadi (1988). They advocate that the derived word adopts all the feature values of its outermost morpheme.' (Mbadi, L.M. (1988:124) in Nkabinde, A.C. {1988)). The outermost morpheme, inhis case, the pre-posed noun prefix interact with the rest of the noun prefixes' by dominating over them. This work maintains that the last morpheme to be introduced, whether preposed, (post-posed) or imposed dominated over the others. The word abelungu (whites) we have the outermost noun prefix aba- which is [-(-Human]. We have *aba-lungu. as in aba-ntu etc. After the imposing of additional morpheme -e- with its semantic content [+Race] we have now the composite noun prefix ' ab(a)-e- which is {+Human, + Race) as in: which is {+Human, + Race} as in : ab(a) - e - Suthu (Sotho people) ab(a) - e - Nguni (Nguni people) etc.
Ucwaningo olunzulu ngenkolo yobuKrestu nenkolo yoMdabu (yesiZulu)
(University of Zululand, 1997) Wanda, Vukani Milton.; Khumalo, L.Z.M.
Zonke izizwe zoMdabu lapha e-Afrika zinenkolo yazo Le nkolo ihambisana nemikhuba ethize. Inkolo yalezi zizwe isemthanjeni yempilo yabantu bakhona kangangoba akulula ukuhlukanisa usikompilo nenkolo yesizwe soMdabu. Imvamisa akekho umqambi walezi nkolo yize bekhona abaqambi bezizwe ezithile. Izizwe ziqiniseka ukuthi 1e nkolo zadatshu1wa nayo nguMdali. NamaZulu nawo anenkolo yawo ayilandelayo, yize-ke isithe ukudungeka idungwa impucuko yaseNtshonalanga ihambisana nenkolo yobuKrestu.
Ucwaningo olunzulu ngemvunulo yezinkondlo zika-D.B.Z. Ntuli, encwadini ka L.T.L. Mabuya: Ilaka lokulangazelela
(University of Zululand, 1997) Makhanya, Phylacia Nozipho; Khumalo, Z.L.M.
Lolu cwaningo luhlose ukukhanyisa ukuthi ubunkondlo butholakala kanjani enkondlweni. Luzophawula ngezinyathelo ezithathwa umhluzi uma ehluza inkondlo. Lolu cwaningo luzobheka nokubumbeka kwengaphandle lalezi zinkondlo ezilandelayo : Inhlekelele YaseCoalbrook, Sithi Halala, Kuyona Ie ngabadi. Luhlose ukuveza izinto ezithatha amehlo abafundi. Igama elithi izinto liqondise ezigabeni ezakha inkondlo. Uma uzibheka zibunjwe ngezindlela ezahlukene. Libuye liqondise emigqeni eyakhe inkondlo. Le migqa yakhiwe ngenani elahlukene lamagama. Uma weqisa amehlo esakhiweni salezi zinkondlo, uthola ukuthi izinhlamvu ezakhe amagama nazo zehlukene ngamanani. Ekujuliseni amehlo uyakubona ukuvumelana nokuxhumana komsebenzi wale mbongi.
Isiko lokuthethwa kwedlozi
(University of Zululand, 1997) Makhanya, Ntokozo Favourite; Khumalo, L.Z.M.
Izinhloso zalolu cwaningo ukulekelela isizwe sakithi singalahlekelwa ubuntu nobuzwe baso. Ukukhuthaza isizukulwane esisha ukuba sazi, kumbe sizimbandakanye namasiko esintu. Lolu cwaningo luzoqwashisa abantu abaningi asebalahla amadlozi akubo Ucwaningo luzophawula ngokungahlonipheki nokungagcineki kwedlozi ngernfanelo. Ucwaningo luhlose ukuvimbela isejwayezi esibi sokuthatha imikhuba noma amasiko ezinye izizwe. awesintu abeseshabalala unomphela. Kulolu cwaningo kuzothintwa imicimbi ethile. nezenzeko zokuthetha idlozi ngokukhuluma noma ngokwenza ungakhulumanga. Ucwaningo luhlose ukuveza ubuciko bomlomo isintu esinabo kwizizukulwane ngezizukulwane. Ucwaningo luzoqhakambisa ukuphathwa nokukhuseleka kwethu ngabakwelingafelwa. nkonyane. Kuyisiko elibalulekile kithina maZulu ukuthethwa kwedlozi. Amadlozi siyawakhumbula siwahloniphe ngoba aphathelene nabaphansi. Kufanele kucace, kumbe kubesobala ukuthi sikhuluma nabakithi asebekwelingafelwa nkonyane . Umlando wempilo uzothinta uzalo lonkana, kuze kufike kokhulukhulwane. Ukukhula, ukuziphatha. nempilo yentombazane nomfana ekhaya kuxhomekeke ezinyanyeni zekhaya kusukela ebunganeni baze bayokwenda, noma bendelwe. Isigaba nesinyathelo abasithathayo ekukhuleni kwabo sibikwa emadlozini ngoba kuyiwona abasingethe kulo lonke uchungechunge lwezigaba abadlula kuzona.
Ucwaningo olunzulu ngesibaya
(University of Zululand, 1997) Makhanya, Ntombizonke Eunice.; Khumalo, L.Z.M.
Lolu cwaningo luhlose ukuvusa ugqozi lokufuya kubantu. Esikhathini eside abantu balahle amasiko abo , balibala amasiko ezinye izizwe. Lolu cwaningo luhlose ukuqwashisa iSintu ukuthi, yize sesingasazi ukuthi kumele sibhekephi, nokho lisekhona ithemba nekhambi elingenziwa. Uma nje besingaba nesineke, sivume ukuqalaza emuva, nokho bezingabuya emasisweni . Lolu cwaningo luzoveza ngokusobala bha ukuthi kwakukhonjwa ngophakathi kwelokhokho. Kuzovela yonke in::okozo yasekhaya ngaphandle kokuwa uvuka , uqhathanisa onsumbulwana. Ingani phela uphokophele ukuthola ukudla okwakha umzimba, njengobisi , amasi nokunye. Lolu cwa.'1ingo luzoveza ukubambisana komndeni ekumiseni insika yawo isibaya. Lolu cwaningo luzoveza isidingo sesibaya emzini womnumzane .
Ucwaningo olunzulu ngobudlelwano phakathi kwamadlozi nenkolo yobuNazaretha
(1997) Duma, Bonisiwe M; Khumalo, Z.L.M.
Kuthe ngokuntuleka kwemibhalo esitshela kabanzi ngamadlozi kanye nenkolo yobuNaza!etha, ngabona kudingekile ukuba kushicilelwe okuphathekayo nalokhu. Loko kuyonciphisa ukudide}{a okukhulu okukhungethe isizwe esimpisholo. Hleze bayophela abantu abathi kule nkolo kukhonzwa amadlozi. Hleze kuyophela nokuthi umuntu ongasekho emhlabeniumoya omubi, akanamsebenzi walutho. Okubalulekile okumele kuhlale kuzinze ezingqondweni zethu, ukuthi akekho namunye umuntu owavele waqhuma etsheni, nowaqhibuka esidulini. Ilowo nalowo unabo abazali abamlethe kuleli lengabade. Bamnika uthando, bamkhulisa waze waba yilokhu ayikhona. Umuntu okwenzele okukhulu nokuhle kangaka, ungaqaIa ngaphi umlibale? Yikhona loku okuyivuso kithina ukuba sibakhumbule, njengoba bekhunjuIwa nakwezinye izinkolo zezinye izizwe. Akulula ukukuIibala,.nokubalibala ngisho sebemathambo amhIophe".

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