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Thokoane, Makgalakgatha Daniel. "Ditaodišo tša SePedi (SePedi)." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-04082008-141242/.
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Makgabo, Mmamoyahabo Constance. "Kanegelorato le Kanegeloboitshwaro ya Sepedi (Sepedi)." Diss., Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-07102008-132932/.
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Lebaka, Kgeledi Johanna. "Megokgo ya lethabo : kanegelorato ya sepedi (Sepedi)." Diss., University of Pretoria, 1999. http://hdl.handle.net/2263/22998.
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Lentsoane uses the title of his narrative to highlight the theme. Special attention is paid to this. The suspense is captured in the clash between the traditional attitude to life held by the Bapedi and the modem philosophy of life held by the younger generation. Lentsoane effectively uses the concept of a journey to convey his message to his reader. The visit of the antagonist Kgoteledi to the homeland is especially important in this regard, as her family there is conservative and thus strongly supports her actions. But it is also here that she becomes aware of change. Other important techniques used by Lentsoane are: contrast, symbolism, shifting of focus, mirrorimages, naming, summary and retardation, foreshadowing, but also the reference to related matters. This latter technique has an important emphasising function. Although conflict is emphasised all the time, the climax is reached with the announcement that Mihloti, Dikgoneng's girlfriend, is pregnant. The mother (and therefore also the rest of the family) hereby accept that change has also become part of their lives. Kgoteledi comes to terms with the situation and passes away. AFRIKAANS : In hierdie verhandeling word Lentsoane se novelle, Megokgo ya Lethabo, as 'n liefdesverhaal besktyf waarin die liefdesverhouding tussen die minnaars nie deur die jongman se familie goedgekeur word nie, omdat die jong meisie lid van 'n ander etniese groep is. Die beskrywings model wat vir die ondersoek gevolg word, is 'n aangepaste narratologiese model. Boonop word slegs twee van die struktuurlae ondersoek, nl. die inhouds- en die samestellingslae. In die beskrywing van die inhoudslaag is die vier epiese elemente, karakter, handeling, tyd en plek, noukeurig nagegaan, en t.o.v. die onderwerp wat die outeur gekies het, beskryf. Die onderwerp bepaal die onderlinge verhouding tussen die verskillende karakters, en verdeel die handeling in drie groot aksiekategorieë, t.w. die liefdesverhouding, die besware van die jongman se familie, en die uiteindelike troue. Die tydsbegrip word omskryf in terme van 'n tydstip, tydsverloop en tydsomstandighede. Vir die beskrywing van die samestellingslaag van die werk is daar twee kernbegrippe wat uitgelig word, nl. die temabegrip en die tegniek begrip wat 'n verhoudingsbegrip is en nie eenduidig in verwysing is nie. Die tema wat hier vooropgestel word, is die van verandering, en slaan op die voortdurende verandering in die lewe van mense en kulture. Die karakter van die protagonis, Dikgoneng, word in terme van noodsaaklike en bykomende kenmerke beskryf. Die noodsaaklike kenmerke hou met die verhaalsoort of genre verband, terwyl die outeur met die bykomende kenmerke sy Ieser tot vereenselwiging met die protagonis oorhaal. Die antagonis word slegs t.o.v. die noodsaaklike kenmerke beskryf. Lentsoane gebruik die verhaaltitel as 'n belangrike outeursmiddel om die tema van sy werk na vore te bring. Besondere aandag word hieraan afgestaan. Die spanningselement lê opgevang in die botsing tussen die tradisionele lewensopvattings van die Bapedi en die modeme lewensbeskouing van die jong geslag. Lentsoane maak effektief van die reisbegrip gebruik om sy boodskap aan sy leer tuis te bring. Hier is dit veral die antagonis, Kgoteledi, se besoek aan die tuisland, wat belangrik is, omdat haar familie daar behoudende mense is, en haar dus in haar saak sterk steun. Maar dis dan ook hier waar sy van verandering bewus raak. Belangrike ander tegnieke wat Lentsoane gebruik, is kontrastering, simboliek, fokusverskuiwing, spieëlbeeldstelling, naamgewing, tydsversnelling en vertraging, vooruitskouring, maar veral die verwysing na verwante geleenthede wat 'n sterk beklemtoningsfunksie het. Hoewel konflik deurentyd aan die orde is, word die hoogtepunt met die aankondiging bereik dat Mihloti (Dikgoneng se nooi) swanger is. Die moeder (en daarom ook die res van die familie) aanvaar hiermee dat verandering ook deel van hulle lewens geword het. Kgoteledi berus haar hierin en sterwe.<br>Dissertation (MA)--University of Pretoria, 1999.<br>African Languages<br>unrestricted
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Kanyane, Francinah Mokgobo. "E. K. K. Matlala : mongwadi wa ditaodio ta mathomo ta Sepedi (Sepedi)." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-07102008-130433/.
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Mampuru, Deborah. "Kgolo le tlhopho ya theto ya Sepedi / Growth and classification of Sepedi poetry." Thesis, University of Pretoria, 2015. http://hdl.handle.net/2263/53433.
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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.<br>Thesis (DLitt)--University of Pretoria, 2015.<br>African Languages<br>DLitt<br>Unrestricted
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Maila, Ramalau Andries. "Kgolo ya tiragatso ya sePedi." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09112007-110525.
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Sefoka, Moipone Magdalina. "Nyakiio ya Lukas Mothelethele (Sepedi)." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08212008-175124/.
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Kekana, Thupana Solomon. "Masetlapelo dikanegelong t a Sepedi." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60371.
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The research focuses on solutions to problems experienced in distinguishing between tragedy and pathos. The tragic is always characterised by emotions, and 'narrative can only be regarded as tragic through its tragic theme' (Steiner, 1961:16).
Aristotle was the first to define tragedy he regards dramas/narratives as tragic if the protagonists die at the end, and the emotions of pity and fear are aroused. The tragedies Aristotle refers to all display emotional intensity, but are quite dissimilar. In some, the central emotions are evoked by the death of the protagonist, but in others there are events that are more intensely emotive than the death itself. In this study, the researcher provides an in-depth definition of the key concept 'tragedy', the different tragic emotions experienced and related concepts.
Phatudi'sTladi wa Dikgati (1958) and Rammala's Lukas Mot helet hele (1963) prove clearly that there are two different types of tragedies, one of which contains pathos and the other contains tragedy. The research emphasises that these Sepedi narratives contain tragedy rather than mere pathos.
The focus of this study is Sepedi tragic narratives, which have not previously been investigated in depth (Mohatlane, 2002:17). Only M.L. Bopape, P.M. Makgamatha and P.S.M. Mokgobu concentrated on tragic narratives, and P.M. Kgatla and P.S. Groenewald commented briefly on tragic narratives.
The adopted narratological model employed in this research focuses plot and language usage, which are only briefly touched on in this research, as they have already been dealt with by prior theorists whose explanations of these narrative levels assist in understading the arrangement of the plot in tragic narratives. The research methodologies employed in analysing the structure of Sepedi tragic narratives/pathos to distinguish tragedy from pathos are descriptive, discussive and comperative.
The researcher found few narratives containing pathos and tragedy in African languages, especially in Sepedi. The discussion of tragedy focuses on an analysis of the foundations, description, types and main characters (protagonists) of tragedy. Sepedi tragic narratives and pathos were influenced by Western culture; for example, Serudu's drama aka la peloga le tlale (1990) and G.H. Frans's Maaberone (1940) were influenced by Shakespeare's Romeo and Juliet.
In this study, pathos is defined as related to societal sympathy. Holman (1936:166) explains that the 'emotional events in pathos affect the main character, his/her family and relatives, and they are left alone in those miseries and are expected to solve those problems without help from society'. In texts containing pathos, the main character is neither a villain nor a model of perfection, but basically good and decent. Even though the protagonist is great, he dies, but not because of moral blindness or error. He receives empathy because of his good character. The research concludes that in a text containing pathos, the protagonist is portrayed as simple and perfect. The events are so tragic that they induce pity and fear, more than death itself.
Concerning tragic narratives, the investigation focuses on narratives of morality and ethics. Groenewald (1993:37) lists seven types of moral narratives, including tragedy and pathos. The two books that were the focus for this study were Rammala's Lukas Mot helet hele and Phatudi's Tladi wa Dikgati.
The discussion of Lukas Mot helet hele focuses on the concepts of the (a) topic, (b) characters, (c) protagonists/antagonists as the most distinctive elements in tragic narratives and pathos. Authors organise their work in line with themes, which also control the main ideas and supporting ideas of the plot from beginning to end, and the protagonist, who dies at the end. This character is a great person who dies because of flaws (pride, jealousy and failure to take advice from others). The mistake is not easily recognised, it is hidden; it arouses emotions of pity and fear in the spectators. The analysis of Lukas Mot helet hele looks at (a) love, (b) segregation and hatred, (c) the hooliganism of Lukas Junior, (d) the emotional pain of the wife of Lukas (senior), and (e) the character Albi. The literary style (writing techniques) is analysed. Phala (1999:78) describes technique as 'the elements of writing and other concerns of the development of the plot, message and narrative' which are noted after the theme/message.
Phatudi's novella Tladi wa Dikgati is analysed focusing on the protagonists and events that make it a tragic novella. The summary exposes the theme, characters, events, and place. The emphasis is on characters and events as central to tragic narrative. Analysis of Tladi wa Dikgati focuses on the theme, techniques, plot and writing style. The arrangement of events depends on the aim of the author and his objectives. It was found that this type of narrative reveals the emotions of fear, and depicts tragedy, and that the protagonist arouses pain or pity in the reader through attraction and suspense as the main techniques. Events are arranged and language is used to evoke a sense of tragedy and pity.<br>Thesis (DLitt)--University of Pretoria, 2016.<br>African Languages<br>DLitt<br>Unrestricted
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Kekana, Mmantu Idah. "Dikanegelo tsa bafsa tsa Sepedi." Thesis, University of Pretoria, 2015. http://hdl.handle.net/2263/53416.
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There is a dearth of reading-material in Sepedi for children and youths because the written and reading language in Sepedi is relatively young. Any written texts for children and youths must therefore be in such a way as to be of interest to them. Madiba was a pioneer in such writing.
In view of this dearth of reading-material in Sepedi for children and youths, some attempts have been made to translate certain books from other languages in order to fill this gap. However such attempts have proved to be a far outcry to satisfy the existing need of such reading-material. To compound this alarming problem, parents at home do not teach their children how to read. This parental failure is more evident in rural areas where literacy is at its lowest ebb.
The thesis outlines the different reader groups and the kinds of the different reader groups as an illustration of the extant deficiency of Sepedi reading-material for children and youths. Though in the Sepedi traditional life there is a spoken or oral literature, the thesis focuses not thereon but on the written form of the literature for children and youths. The method of discussion is descriptive in nature and embarks on social-literacy approach with a strong educational flavour to prepare readers for life and enable the youths to adjust to social and cultural levels in life. In order to prickle the reading interest, pictures, colour, book cover, page lay-out, the letter type and size as well as the easy-to-handle size of the book are all of vital importance.
For interest sake, the stories in the books should be read to children not only in class but also at home. The contents of the book should also be appropriate for the particular age group. The structuring of the information should also promote the logical sequence of events. The sentences must be fluent in reading and the vocabulary be appropriate. The title of the book should also stimulate reading interest. Women should venture into the writing of books for children and youths since Sepedi books with stories for daughters are still lacking. Possible steps are suggested to encourage this waiting of reading-material for children and youths.
As a written and reading language, Sepedi is a relatively young language and the backlog that exists in this language in respect of child and youth reading-material is ascribable to this. The first written texts of this nature must therefore serve two purposes: in the first place it is used at school as reading-material, and at the same time the reading passages must be so composed and written that they serve as interesting reading-material for the children. School books written on this by Madiba serve as examples of these. These literacy works have therefore been graded in order to provide for those in the different educational levels. It goes without saying that there is a tremendous shortage of the reading-material of this nature. In order to cater for this shortage in some instances attempts have even been made to translate suitable works from other languages so as to provide these to children as supplementary reading-material. In spite of all attempts to overcome this problem, the progress that has been made in this regard so far is praiseworthy although it is far from being enough to satisfy the existing need. The reason for this is, among others, that the sale enjoyed by the written word in Sepedi is determined by the school market. It is also true that the role which the parent must play at home in the teaching of reading is not played especially in rural areas where literacy is not yet established.
In order to properly illustrate the existing deficiency in respect of child and youth reading-material in Sepedi, it is essential to outline the different (a) reader groups and (b) the kinds of the different reader groups. An important aspect which the researcher must not lose sight of is that in the Sepedi traditional life dispensation there is literature for the children which however is known as spoken or oral literature which is, as a result thereof, of a different kind especially in respect of the kinds which must be distinguished. A discussion hereof is not undertaken in this thesis; only the written form of the literature for the children and the young people is relevant here. The method in terms of which it is done is mainly descriptive in nature and only where it becomes necessary the information is subjected to interpretation.
The approach in terms of which the research is undertaken, is social-literary in nature with a strong educational flavour in order that these works should introduce the readers to and prepare them for life, it must better equip the youth for adjustment to social as well as cultural levels. In order to do that, there exist various strategies which not only make it easier for the reading of texts but also to whet the reading appetite. The reading of the text is expedited by presenting the book in a captivating manner.
In the subsequent chapters the extant Sepedi texts are taken through the magnifying glass. Conspicuous inclinations and tendencies are highly-lighted and discussed, since stories for daughters are still lacking and that women should venture into the writing of books for children and youths. Reasons for this are sought and possible steps are suggested to encourage the writing of reading-material for children and youths.<br>As skryf-en-leestaal is Sepedi n betreklike jong taal, en die agterstand wat in die taal t.o.v. kinder-en-jeuglektuur bestaan, kan hieraan toegeskryf word. Die eerste geskrewe tekste van die aard moes dus n dubbele doel dien: vereers is dit as leesmaterial op skool gebruik, en terselfdertyd moes die leesstukke so saamgestel en geskryf word dat dit interessante leesstof vir die kinders kon dien. Die skoolboekies wat daarom deur Madiba geskryf is, is dan ook voorbeelde hiervan. Die werkies is derhalwe so gegradeer dat hulle vir die in die verskillende opvoedkundige vlakke voorsiening maak. Dat daar n geweldige tekort aan leesstoff van die aard bestaan, spreek vanself. Ter aanvulling van die tekort is daar by geleenheid selfs gepoog om geskikte werkies uit tale te verhaal, en as bykommende leesstof vir die kinders daar te stel. Ten spyte van al die pogins om hierdie problem die hoof te bied, is die voordering wat hiermee gemaak is, wel prysenswaardig, maar nie by benadering voldoende om aan die bestaande behoefte te voldoen nie. Die rede hiervoor is o.a. dat die afset wat die geskrewe woord in Sepedi geniet, deur die skoolmark bepaal word. Ook is dit waar dat die rol wat die ouer tuis met die leesopvoeding moet speel, nie plaasvind nie, veral in die landelike gebiede waar geletterdheid nog nie behoorlik gevistig was nie.
Om die leemte wat t.o.v kinder-en-jeug-lektuur in Sepedi bestaan, behoorlik toe te lig, is dit nodig om die verskillende (a) lesergroepe en (b) genres vir die onderskeie lesergroepe uiteen te sit. n Belangrike saak wat die ondersoeker egter nie uit die oog mag verloor nie, is dat daar in die traditionale lewensbestel van die Sepedi wel n letterkunde bekend is, as gevolg waarvan dit ook ondersoortig is veral t.o.v. die genres wat onderskei word. n Bespreking hiervan word nie in hierdie proefskrif onderneem nie, slegs die geskrewe vorm van die literatuur vir die kinders en jong mense is hier ter sake. Die metode waarvolgens dit geskied, is hoofsaklik beskrywend van aard, en slegs waar dit nodig is, word die gegewens aan interpretasie onderwerp. Dir werkwyse waarbinne die ondersoek onderneem word, is sosiaal-literer van aard met n sterk opvoedkundige inslag daar hierdie werke die lesers daarvan moet inlei en voorberei vir die lewe; dit moet die aanpassing van die jeug op sowel sociale as kulturele vlak vergemaklik. Om dit te kan doen, bestaan daar verskillende strategee vat nie net die lees van tekste moet vergemaklik nie, maar ook n leesgierigheid moet aanwakker. Die lees van die teks word aangehelp deurdat die boek aantreklik aangebied word.
In die hieropvolgende hoofstrukke word die bestande Sepedi tekste onder die vergrootglas geneem. Opvallende neigings en tendense word uitgelig en besprek soos dat verhale vir dogters nog ontbreek en dat vroue hulle nog aan die skrywe van kinders en jeug boeke moet waag. Redes hiervoor word gesoek, en moontlike stappe word aan die hand gedoen om die skrywe aan kinder-en-jeuglektuur aan te moedig.<br>Thesis (DLitt)--University of Pretoria, 2015.<br>African Languages<br>DLitt<br>Unrestricted
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Makgabo, Mmamoyahabo Constance. "Boitshwaro le thuto : dikanegelong tša Sepedi." Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/67784.
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The focus of this study was to look at the Sepedi narratives which depict morality as well as didacticism. The point of departure was the fact that the previous researchers were not in agreement when it comes to the issue of moral and didactic lessons which are derived from the narratives. Some of them found the two to be the same whereas the others pointed out the difference without elaborating further on them.
As a result, the first thing was to clear this confusion by explaining the concepts morality and didacticism, trace their origin and also examine the theories that are used to describe them.
In doing that, it was found that morality is an unplanned event which can be influenced by external factors. Although one’s morality can be a hereditary factor, the upbringing, one’s environment, the culture as well as the interaction with people can have an influence on one’s moral conduct. Morality is a process that takes place from birth up to death since people learn new things daily in their lives.
On the other hand, didacticism, refers to a process where one learns from other people. It is an intentional process and has objectives that should be achieved. Education can be taught the traditional way or modern way. The traditional one is the one that is taught at homes during upbringing, can be taught at the initiation schools where culture is mostly taught, and also in the community by elderly people with the aim of passing the culture and practices from one generation to the next. The aim of this traditional education is to restore culture. This kind of education follows a certain curriculum that aims at achieving the objectives related to the culture. However, this curriculum is not written down since it is passed from one generation to the other by word of mouth. With regards to the modern one, it is taught at different educational institutions and it follows a particular curriculum. The aim of this kind of education is not only to teach reading and writing, it also opens up doors for individuals to achieve the new discoveries. With this education, individuals will have the ability to use it in such a way that it will benefit the society as well as the economy of the country.
In examining the differences between morality and didacticism, the following books were used in this research, namely Moepathutse by Makopo (2003), Moelelwa by Sehlodimela (1958) and Kgopotšo go Beatrice wa Botlokwa by Moloisie (1953) Relevant and appropriate examples were quoted to show morality and didacticism.
When explaining moral and didactic narratives, Groenewald (1993:15) succinctly emphasises the similarities between the two concepts of didactic and moral narratives as both of them being based on a journey, which relates to life with a motive. He further indicates that the protagonist is someone who is either an ordinary person or has status in society. Therefore he (the protagonist) has a weakness; is degraded, and later he is forgiven by the society.
A didactic narrative emphasises that which a reader should learn, whether at home or any other structured setting, whereas a moral story focuses on what society deems appropriate behaviour / conduct and it can be learned from anywhere and anyone in the community or society.
Furthermore, three methodological approaches will be adopted for use in describing the challenges that relate to defining the concepts of didacticism and morality in Sepedi literary texts. The methodological approaches are (a) comparison, (b) description and (c) interpretation. The approaches are relevant to providing answers to the unanswered questions that have arisen in the introductory section of this study. The significance of this research has been discussed as well as the adapted narratological model which will be followed. Finally, the structure of a literary text has been looked into, which comprises three layers - content, plot and style.<br>Thesis (DLitt)--University of Pretoria, 2018.<br>African Languages<br>DLitt<br>Unrestricted
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Mothiba, Kwena Frans. "Nthutelele : terama ya go se bapalege (Sepedi)." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-08282007-144058/.
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Van, der Merwe Adriana. "Sepedi cultural views on Autism Spectrum Disorder." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/79201.
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Cultural views are known to play a critical role in the identification, diagnosis and intervention of developmental disorders, such as Autism Spectrum Disorder (ASD). Indigenous views regarding the nature and causes of ASD have often been overlooked. Based on the paucity of research on indigenous perspectives on ASD in South Africa, as well as the alarming rise in the incidence of ASD, the purpose of the study is to investigate the views held by members of the Sepedi group in South Africa regarding ASD. Research relating to ASD has mostly been conducted in other countries or according to Western or conventional scientifically proven positions. The study attempts to answer the following primary research question: “What are Sepedi cultural views regarding the nature, cause/s as well as intervention of Autism Spectrum Disorder?”
The theoretical framework that was utilised during the study was that of Indigenous Knowledge Systems (IKS). Furthermore, the study was approached from a phenomenological paradigm. A qualitative approach as well as case study design were followed, and purposive sampling was used. The first method of data collection was a focus group and subsequently, semi-structured interviews were conducted. The data were analysed using inductive thematic analysis to pinpoint recurring themes. These five themes are (1) Indigenous African Views, (2) Participants’ views of causes, (3) Circumstances surrounding diagnosis, (4) Personally coping with ASD, and (5) Intervention with a child with ASD. Results obtained from the study could be utilised within a diagnostic, intervention and educational approach that is uniquely South African.<br>Dissertation (MEd)--University of Pretoria, 2020.<br>Educational Psychology<br>MEd<br>Unrestricted
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Maja, Tebogo Stanislaus Abel. "Sepedi tricksters : reflections of the human ego." Thesis, University of Limpopo, 2012. http://hdl.handle.net/10386/2644.
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Thesis (M.A. (Folklore Studies)) --University of Limpopo, 2013<br>The purpose of this study is to investigate whether human conduct and behaviour can be “seen” through the actions of trickster tales. This study focuses on how Bapedi people’s actions can be manifested in the actions of these tales. A variety of trickster tales will be used in trying to investigate the above claim. There will be some folktales that will be sampled from a variety of existing Literature. The sampled folktales will be brought together for analysis at the end of this study.
The other folktales will be gathered from respondents. A number of respondents will be sampled through the snowballing technique. Each respondent will be interviewed through the face to face interview to gather more information in as far as folktales are concerned especially trickster tales. Gender sensitivity will be taken into cognizance when sampling the respondents in order to make the study more representative.
Interviewees will be sampled from youth to senior citizens. Information gathered will thereafter be brought together with those collected from existing literature for creation of manuscripts. There manuscripts will thereafter be analysed through contend analysis technique.
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Nkadimeng, Manangane S. "Kanegelohistori le nonwanepheteletsannete ka tebelelo ya Sepedi." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60404.
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The study addresses the problem, already identified in 1986 by Msimang that definitions such as Bascom's (1965) fail to differentiate clearly between historical narratives and legends. To evolve a more accurate definition, this study considers two Sepedi dramas: Make's Sello sa Tonki le Pere and Moloma's Marangrang (1972).
The qualitative approaches (explain, interpret and compare) used in this study show that legends and historical dramas/narratives can be investigated by comparing them to identify differences between these genres. A narratological model suggested by Marggraff (1994) is used, considering three strata (layers) of a text: content, plot and style of writing. The topic, theme and atmosphere are explored, in that order, in the selected texts.
The analysis suggests that the differences between a legend and a historical drama/novel arise from two elements: characters and their actions. In a legend, there are three important pillars: the exposition, the body and the conclusion. The exposition of a legend has five formulaic features: Kgalekgale [long, long ago ], Keleketla [Give us more!], E rile e le nonwane [It is a tale ], and a reference to the narrator (Nonwanenonwane!) and the listeners (Keleketla!). Some sentences/phrases are repeated slightly or without a reply. The action ends with a concluding formula: Se seo sa mosela seripa! [That is the end of the tale]. The action focuses on a main character, and there may be some repetition of actions (a cycle). The time technique may be used. There is often symbolism. Other features include a song (repeated several times), which brings pleasure and/or pride, and sometimes sorrow. A song may play a role bigger than the narrative. The presence of these factors suggests a legend rather than a historical narrative.
The investigation shows that Make does not follow these rules for a legend, but elides actions he thinks the audience/reader already knows, inviting the audience/reader to participate in the narration. That implies that both the narrator and the audience know the 'rules' of a legend Make seems aware that the exposition and conclusion of a legend are based on the use of repetition of formula (a clause, sentence or sentence cluster).
In legends, the characters tend to be flat (not rounded) they are interpreted focusing on one idea only (using a phrase or short sentence), which is not a complete depiction of the character. Often the author exaggerates to create humour. This study confirms that flat characters are typical of legends, adding to the artistic structure of this genre.
Make successfully uses three techniques (the cycle and journey techniques, and symbolism) in constructing Sello sa Tonki le Pere. A cycle is visible in the repetition of the prosecution of Tonki and Pere to illuminate their case, strengthening and simplifying the sentencing of those animals. Make compares life to a linear journey with a beginning (birth) and a conclusion (death). The phases of the journey symbolise stages of a human life. Make used animals as symbolic characters in this drama to represent real people. Tonki and Pere represent criminals. Kgomo and Nku fight for justice for those mistakenly judged guilty of witchcraft, and they represent the accused. Tau's household represents the capital (Judgement), while Kubu's household represents medicine.
A legend should end with a concluding formula: 'Mpho se seo sa mosela seripa!', showing readers/listeners that they can relax, as the narration/fable has come to an end. Make does not use this formula, but ends his fable with 'Pula! Pula! Pula!!'.
To explore the structure of a historical drama/narrative, Maloma's drama Marangrang was considered, focusing on the exposition, development, climax and denouement of the drama.
In the exposition of Marangrang conflict between Mapulana's children Lethoke, T iane and Madikgake (Mokone of Ma a) who argue over traditional healing (and bravery). This plot suggests the presence of the shadow technique (a shadow focuses on the actions of a character which are similar to actions of another character to be introduced later in the play) (Mojalefa, 1997:35). As a traditional healer Lethoke is a shadow for Marangrang; he stands for Marangrang's actions. By contrast, Madikgake stands for all the tribes. This foreshadows conflict between Marangrang and the Bakgatla, Ma abela, Magolego, Mphahlele tribes. This conflict appeals to the audience/readers, who want to unravel these issues/themes.<br>Dissertation (MA)--University of Pretoria, 2016.<br>African Languages<br>MA<br>Unrestricted
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Mojalefa, M. J. (Mawatle Jeremiah) 1948. "Tshekatsheko ya Sebilwane bjalo ka thetokanegelo (Sepedi)." Diss., University of Pretoria, 1993. http://hdl.handle.net/2263/24295.
Full textAbstract:
In this thesis, Sebilwane is the subject of a narratological investigation. The point of departure of this study is based on the fact that a narratological text consists of three levels: the history, the composition, the usage of words which are recognisable in the style of the author. The epic-poem is not the subject of a verse-technical investigation and description. The narratological model is adapted to the aim of this study. The historical level regarded in principle as the original level prior to the material's exposure to a viewpoint and it is interpreted. The four narrative elements that are investigated are: the events, the characters/actors, time and place. In Sebilwane there are main events identified by the criteria of: (a) change, (b) cause, and (c) result. The characters/actors have been described and classified according to: (a) aim, (b) supporter, (c) patron, (d)helper and patron,and (e) opponent. In as far as historical time is concerned, it has been concluded that the events occurred: (a) in the remote past, and (b) stretched it to a 24 hour period. The actors/persons find themselves in a rural area which can be comparable to Botlokwa which is lying within the borders of Lebowa. The composition of the information which is given in the historical level, gives the shape of the author's aim. Here, what is important, are the functions which are described by the elements themselves. Then the idea of the theme comes clearly in this part and it is therefore identified as the main - and sub-theme. The third level concerns the usage of words; the information now gets a personal or subjective selection. Therefore, only a short passage is to be selected for stylistic analysis. The analytic model which is effected here is Kerkhoff's. AFRIKAANS : In hierdie verhandeling word Sebilwane aan 'n narratologiese ondersoek onderwerp. Die uitgangspunt van hierdie studie is dat 'n narratologiese teks uit drie lae bestaan: die geskiedenis, die samestelling, die verwoording wat in die styl van die outeur kenbaar is. Hierdie epiese gedig word nie verstegnies ondersoek en beskryf nie. Die narratologiese model is vir die doel van hierdie studie aangepas. Die geskiedenislaag word in beginsel as die oorspronklike laag beskou voordat die gegewens vanuit 'n bepaalde gesigspunt bekyk en weergegee word. Die vier vertelelemente wat ondersoek word, is die gebeurtenisse, die karakters/akteurs, tyd en plek. In Sebilwane is die kerngebeurtenisse geïdentifiseer deur die kriteria van (a) verandering, (b) oorsaak en (c) afloop. Die karakters/akteurs is beskryf en geklassifiseer volgens (a) doelstelling, (b) begunstigde, (c) begunstiger, (d) helper en (e) teëstaander. Wat die tyd betref, speel die gebeure (a) histories in die verre verlede af, en (b) strek dit oor 'n 24 uur tydperk. Die akteurs/mense bevind hulle in 'n landelike gebied wat waarskynlik Botlokwa is wat binne Lebowa geleë is. Die samestelling van die gegewens wat in die geskiedenislaag gegee is, gee aan die doestelling van die outeur gestalte. Daarvan gaan dit hier om die funksies wat aan die elemente toegesê word. Die begrip van die tema staan in hierdie gedeelte voorop, en daar word 'n hoof - en 'n subtema geïdentifiseer.<br>Dissertation (MA)--University of Pretoria, 1993.<br>African Languages<br>unrestricted
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Thobakgale, Raphehli Michael. "Khuetso ya O.K. Matsepe go bangwadi ba sePedi." Pretoria : [s.n.], 2001. http://upetd.up.ac.za/thesis/available/etd-11032006-190605.
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Seboni, Ntoro Charlotte. "Role played by girl characters in Sepedi folktales." Thesis, University of Limpopo ( Turfloop campus), 2010. http://hdl.handle.net/10386/2315.
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Malan, Roxanne. "Syllabic tone variation by Sepedi speakers with dysarthia." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60384.
Full textAbstract:
Background: Speech production in Bantu languages places great demands on
neuromotor control, because unique speech motor behaviours such as syllabic tone
variation and the aspiration of speech sounds require an additional level of vocal fold
control compared to speech production in Germanic languages. As these motor
behaviours play an important role in differentiating the meaning of words (Van der
Merwe & Le Roux, 2014a), neuromotor speech disorders such as dysarthria may have
a greater impact on communication in Bantu languages than in Germanic languages.
The focus of this study was on syllabic tone variation in Bantu language speakers with
dysarthria compared to typical speakers. Sepedi was the Bantu language investigated.
Syllabic tone variation refers to pitch level changes for every syllable of words in a
tone language (Zerbian & Barnard, 2008a) and requires manipulation of vocal fold
length and mass over and above the voicing or devoicing of sounds within words.
These pitch changes convey the lexical and grammatical meaning of words and may
differentiate between the meanings of two orthographically identical words (Zerbian &
Barnard, 2008a). Studies on lexical tone variation in speakers with dysarthria to date
have focused mostly on the tone languages of Asia and Scandinavia (Kadyamusuma,
De Blesser, & Mayer, 2011). No studies of tone variation in Bantu language speakers
with dysarthria were found. Furthermore, past research only regarded tone variation
in monosyllabic words, with no reference to how tone would be affected across
bisyllabic words and within each of the two syllables of these words. No inquiries were
made into the tone variation ability of speakers with dysarthria when producing short
utterances compared to longer utterances and mostly speakers with congenital
dysarthria were used as research participants. These shortcomings needed to be
addressed to gain a more holistic and accurate view of the extent to which tone
variation is a challenge for Bantu language speakers with dysarthria.
Aims: The first aim of the study was to determine whether a difference exists between
typical Sepedi speakers and Sepedi speakers with dysarthria, in their ability to vary
tone across CVCV words with a HL tone pattern. The second aim of the study was to
determine whether a difference in tone variation exists between short and longer
utterances in typical Sepedi speakers and Sepedi speakers with dysarthria. Method: A quasi-experimental, between-group comparison was used in the study.
Speech samples were obtained from a control group of five typical Sepedi speakers
and from an experimental group of four Sepedi speakers with dysarthria. These
speech samples consisted of 20 consonant-vowel-consonant-vowel (CVCV) words
with high-low (HL) tone variation produced in three- and also in six- /seven-syllable
utterances (resulting in a total of 40 words). The speech samples were analysed
acoustically using Praat software. To achieve the first aim, the following acoustic
measures were obtained from the 40 words produced by participants: (1) Mean
fundamental frequency (F0) of syllable 1 (S1) and syllable 2 (S2), (2) Change in F0
across words from the highest F0 point of S1 to the lowest F0 point of S2, (3) Intrasyllabic
change in F0 within S1 and S2. To achieve the second aim of the study, the
change in F0 across words in short utterances was compared to the change in F0
across words in longer utterances for the typical speakers and speakers with
dysarthria.
Results: Wilcoxon rank tests were used for statistical analyses. Descriptive statistics
were performed and median values were used to achieve research aims. All of the
control participants and participants with dysarthria produced S1 with a higher mean
F0 than S2, as was appropriate for the HL tone pattern ascribed to the target words.
For most of the individuals from both groups, the mean F0 of S1 was significantly
higher than the mean F0 of S2. However, one participant from each group produced
an insignificant difference between the mean F0 values of the two syllables. The control
group produced slightly greater median F0 changes across the words and within S1
than the dysarthria group, but the differences between the speaker groups for the
change in F0 across words and the change in F0 within S1 were insignificant. In
contrast to this, the control group produced a significantly smaller median change in
F0 within S2 than the dysarthria group. Individual speakers from both groups produced
unique patterns of F0 changes for all aspects of tone variation (change in F0 across
words and changes in F0 within S1 and S2). Both speaker groups produced a
significantly greater median change in F0 across words in short utterances compared
to long utterances. The difference in the change in F0 across words between short and
long utterances was significantly greater for the control group than for the dysarthria
group. Conclusions: The speakers with dysarthria in the study maintained the ability to vary
tone across bisyllabic words with an HL tone pattern. The dysarthria group only
differed significantly from the control group with regard to the extent of tone reduction
in the second syllable. This finding may point to possible difficulties in the required
graded relaxation of the vocal folds. Individual differences in F0 changes were found
for both typical speakers and speakers with dysarthria, indicating that unique tone
variation patterns may normally exist for all speakers. For both control and dysarthria
groups, greater tone variation was observed in short compared to longer utterances.
The role of increased utterance length in decreased F0 variation was greater for the
typical speakers than for the individuals with dysarthria.<br>Dissertation (M Communication Pathology)--University of Pretoria, 2016.<br>Speech-Language Pathology and Audiology<br>M Communication Pathology<br>Unrestricted
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Tsholo, Jeremiah Phuti. "Phetogo ya set o dingwalong t a Sepedi." Thesis, University of Pretoria, 2015. http://hdl.handle.net/2263/53472.
Full textAbstract:
The thesis focuses on culture change depicted in Sepedi literature. This is needed because of a great influence of missionaries and their writings that are reflected on indigenous writings of Bapedi people who wrote during the period prior to 1940. It is confirmed that the new writers of Sepedi played a vital role in promoting didactic or moral texts. An important book that appeared during that period was that of M.M. Sehlodimela called Moelelwa (1940). The era of industrial and social revolution in South Africa brought forth a group of writers of Sepedi such as Madiba, Tsiri (1942) and Nkotsana (1955), Phalane, Motangtang (1943), and Sehlodimela, T a Maabane (1953). The creative writers had written on themes connected with blacks meeting the whites.
Though the researcher acknowledges that several researchers discussed, particularly culture change in general, this is regarded as a secondary problem in this study because the focus is on culture change depicted in Sepedi literature. The qualitative structural methods indicate how culture change is implemented in the process of writing as depicted in Sepedi literature.
The researcher moulds the problem into a formulated form to prove that an actual problem exists with regard to the evident gap in culture change depicted in Sepedi literature by focusing on the notion that Bapedi writers have been influenced by other people?s culture in the writing of their literature. The examination is therefore seek to solve the identified problem by (a) focusing on the impact of culture change in Sepedi literary texts, and (b) classifying these texts into three historical periods to show how culture change is implemented in the process of writing Sepedi literature.
The aim of this research is described as an effort to determine the ways in which Sepedi literature reflects culture of the historical times in which they were written. In order to achieve this aim, it is necessary to classify Sepedi creative texts into three different periods,namely (a) white missionary period (b) black missionary period and (c) Bapedi authors? period.
This thesis entails a qualitative study, where a variety of theories pertaining to culture change depicted in Sepedi literature are studied in the form of an examination of culture change by looking at the texts. The qualitative methods identified and to be followed in this thesis are (a) description, (b) interpretation, (c) comparison and (d) classification. A close scrutiny of existing research methods reveals that they are not all the same in terms of definition.
In this thesis a literary survey reveals that there are eight critics, who have written on the influence and even about impact of the change in culture in Sepedi literatures, namely, Thobakgale, Groenewald, Serudu, Serudu et al, Magapa, Mampa, Mosidi and Boshego. Existing research is assessed to determine how the studies of these authors are interrelated with the topic of this thesis.
The theories of the change/influence of culture on the Sepedi texts are aligned with the explanation of what the writing is. When the text is explained, focus is on the parts of the text, taking into account culture, cultural change and the text. The explanation of these aspects of the literature is significant because nothing can be said about change in literature without considering these aspects.
A theory of culture is the core of this thesis and therefore needs to be properly understood. The researcher seeks to reveal the change of culture of Bapedi speaking people through the written literary texts. Traditional literary texts are not used to prove whether there is a change in culture or not due to the scope of this thesis.
The mutual understanding of cultural change is therefore very crucial to the researcher because it is the core of this research thesis. Through cultural change, the researcher proves that the events of the content (culture) and the development or change or progress of Bapedi society/authors change when times change.
The text is discussed as having two dimensions: the life of the author and his/her fictional writings on the one hand, and content and plot, on the other. The work of art is then considered as a whole system of signs or structure of signs serving specific aesthetic purpose. On the contrary Strachan (1988) explains the structure of text as tri-dimensional and not bi-dimensional and as such he differs from the Russian Formalist critics. However, more recent critics emphasise two dimensions, i.e. plot and style rather than the dimension of content.
As having three dimensions, this present study puts more emphasis on the explanation of the change of culture depicted in Sepedi literature so that the influence coming from traditional and modern authorship can be revealed.<br>Thesis (DLitt)--University of Pretoria, 2015.<br>African Languages<br>DLitt<br>Unrestricted
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Maruma, Mamalatswa Walburga. "A genre-theoretic analysis of sports texts in Sepedi." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49820.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2004.<br>ENGLISH ABSTRACT: This study utilises the theoretical framework of text construction developed by Grabe and
Kaplan (1996) for the analysis of Sepedi sports articles from Bona Magazine. This includes
linguistic elements which are applicable in language learning to equip learners with analytic
skills. These skills are indicated in the Curriculum 2005 for the learning area: languages.
These skills will enable learners to analyse the discourse structure of written texts
effectively.
Use is made of various textlinguistic strategies for analysing written genre texts on sports
matters. Including these strategies in language learning and teaching situation will help
learners to understand how language is used in text analysis. In order to demonstrate
how to analyse texts practically, these strategies are investigated through sports texts from
Bona Magazine.
This study demonstrates the importance of generic factors for a proper analysis of texts.
These factors include the community in which the text is produced, cultural factors and the
communicative purpose of a text. In exploring the generic features of texts, the definition
of the term text is investigated, including all its characteristics, textlinguistic construction
and levels of text analysis are also identified.
This study demonstrates the importance of including the parameters of the ethnography of
writing advanced by Grabe and Kaplan (1996) in the analysis of the linguistic structure of
texts. The ethnography of writing entails that a thorough text analysis should address the
following question: AWho writes what to whom for what purpose, why, when and hews.
The study examines the importance of utilising text analysis in language learning and
teaching.
The study also demonstrates the relationship between the theoretical aspects examined
and the learning outcomes of Curriculum 2005. The study thus demonstrates how the
theoretical framework discusses is applicable in the analysis of Sepedi texts.<br>AFRIKAANSE OPSOMMING: Hierdie studie maak gebruik van die teoretiese raamwerk van tekskonstruksie ontwikkel
deur Grabe en Kaplan (1996) vir die analise van Sepedi sport artikels vanuit die BONA
tydskrif. Hierdie tekslinguistiese model sluit in die linguistiese elemente wat toepaslik is in
taalleer en wat leerders met analitiese vaardighede toerus. Hierdie vaardighede word in
Kurrikulum 2005 gespesifiseer vir die leerarea van tale. Hierdie vaardighede stelleerders in
staat om die diskoers struktuur van geskrewe teks te analiseer.
Die studie maak gebruik van In verskeidenheid tekslinguistiese strategieë vir die analise van
geskrewe genres oor sportsake. Die insluiting van die onderrig van hierdie strategieë sal
leerders help om te verstaan hoe taal gebruik word in terme van teksanalise. Ten einde die
praktiese toepassing van die analise van tekste te illustreer, word die betrokke
tekslinguistiese strategieë ondersoek met verwysing na die BONAtekste.
Die tesis demonstreer die belang van genre-analitiese eienskappe in die analise van tekste.
Hierdie faktore hou o.a. verband met gemeenskap waarin die teks geproduseer word,
kulturele faktore, en die kommunikatiewe doelstelling van die teks. In die ondersoek van
die genre-analitiese eienskappe van tekste, word die definisie van die term teks ondersoek,
insluitende die tekslinguistiese konstruksie en die vlakke van teks-analise.
Die studie demonstreer voorts die belang van die parameters van die etnografie van skryf,
soos voorgestel deur Grabe en Kaplan in die analise van die struktuur van tekste. Die
etnografie van skryf hou in dat In deeglike analise van tekste die volgende vrae moet
aanspreek: "Wie skryf wat aan wie, vir watter doel, hoekom, waar en hoe." Die studie
ondersoek die belang van die gebruik van teksanalise in leer en onderrig.
Die studie demonstreer ook die verband tussen teoretiese aspekte en die leeruitkomste van
Kurrikulum 2005. Die studie toon aan hoe die teoretiese raamwerk toepaslik is in die
analise van Sepedi tekste.<br>SEPEDI SENAGANWA: Kakanyothema ye e somisa kakanyo ya semolomo ya hlamo ya dingwalwa, ye e
tSweletSwago ke Grabe Ie Kaplan (1996) tshekatshekong ya dingwalwakgolo tsa dipapadi
go tswa kqatisobakenq ya Sepedi. Se se akaretsa dithopolelo tseo di lego maleba
thutopolelong yeo e hlamago barutwana ka mabokgone a go sekaseka. Mabokgone a
tSwelela lenaneothutong la 2005 mafapheng a boithutelo a maleme.
Go somisitSwe mekgwa ya go fapana ya temanapolelo go sekaseka dingwalwa tsa go
amana le tsa dipapadi. Go akaretsa mekgwa ye go ruteng le go ithuteng polelo go tla
thusa barutwana go kweslsa ka moo polelo e somiswago tshekatshekong ya dingwalwa.
Go laetSa tirlso tshekatshekong ya dingwalwa, mekgwa ye ya tshekatsheko e nyakisisitswe
ka go sornlëa dingwalwa tsa dipapadi go tswa go kqatlsobaka ya Bona.
Kakanyothema ye e bea pepeneneng bohlokwa bja dinhla tsa besetshaba tshekatshekong
ya maleba ya dingwalwa. Dinhla tseo di akaretsa lefelo leo sengwalwa se hlamilwego go
lona, dinhla tsa setso le morero woo 0 tsweletswaqo ke sengwalwa. Go nyakisiseng ka ga
ponagalo tSa besetshaba. hlathollo ya lereo le 'sengwalwa' e nyakisisitSwe, go akeretse le
dipharoloqantsho tsa sona, hlamego ya temanapolelo le magato a go sekaseka sengwalwa
a laedltswe,
Thuto ye e laetSa bohlokwa bja go akaretSa le hlaloso ya phapantsho ka hlalososemahlale
ya go ngwalwa bjalo ka ge e tsweletswa ke Grabe le Kaplan (1996) tshekatshekong ya
dibopego tsa polelo tsa dingwalwa. Hlalososemahlale e tsweletsa gore tshekatsheko ye
etebilego ya dingwalwa e swanetse go araba potslso tse di latelago: 'Mang 0 ngwalela
mang, go tsweletsa eng, ka baka lang, kae, neng, bjang?'
Kakanyothema ye e lekodlslêa bohlokwa bja go somrsa tshekatsheko ya dingwalwa go
ruteng le go ithuteng polelo. Thuto ye e laetsa le tswalano ye e lego gona gare ga dinhla
tSasemolomo tseo di lekotSwego le ditebanyo tsa boithutelo tsa lenaneothuto la 2005. Ke
ka fao kakanyothema ye e beago pepeneneng ka moo kakanyosemolomo yeo e
hlalosïtsweqo e ka diriswago tshekatshekong ya dingwalwa tsa dipapadi tsa Sepedi.
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Aphane, Modikwa Caroline. "Kanegelokopana ya I. T. Maditsi : Pheko ya pula (Sepedi)." Pretoria : [s. n.], 2005. http://upetd.up.ac.za/thesis/available/etd-11202007-134325/.
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Magagane, Raesetja Linah. "The development and technologizing of selected Sepedi ICT terminology." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002156.
Full textAbstract:
It is my wish that the Sepedi language speakers, through the development and technologization of certain Sepedi ICT terminology, are able to operate a computer in their own language, and implement the new developed and technologized ICT terminology (technologization). The pupils and students at their various institutions should be made comfortable in using the developed and technologized Sepedi language terminology. In the long run the Sepedi language speakers should be ensured access to the web in order to find information about Sepedi language, culture and terms in disciplines such as ICT. It is recommended in this thesis that higher learning institutions offer bursaries to students to develop all South African languages in such a manner that they can be used in all high status functions.
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Sekhoela, William Godwright. "Account-giving in the narratives of personal experience in Sepedi." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1200.
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Sono, Beatrice Ramatsobane. "Mabopi ke dikokwane tsa tlhalosontsi : kahlaahlo ye e tseneletsego ya tlhalosontsi ye e tliswago ke mabopi." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1710.
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Bergh, Petrus Lodewikus. "Complexity in task-based course design for Sepedi in police interviews." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2714.
Full textAbstract:
Thesis (MA (African Languages))--University of Stellenbosch, 2007.<br>The purpose of this study is to apply existing theories with regard to second language acquisition in a South African context, in order to address specific needs of Sepedi second language learners in the South African Police Service, with specific focus on the Community Service Centre and within the guidelines of the Batho Pele principles.
The study presents an overview on Universal Grammar and the roles it played within second language acquisition as well as the principles and parameters it presented for language development. It further analysed the acquisition processes of languages and the roles the learner plays as individual and part of a social interacting group.
Form-meaning connections utilised by learners is defined as a fundamental aspect for both first and second language acquisitions are discussed broadly in the study, inclusive of the psycholinguistic consequences as well as other input factors that may influence form-meaning connections. The specific role of language instruction is also reviewed in this study. Specific focus is placed on the roles of implicit and explicit instruction and the effectiveness thereof in second language acquisitioning and noticing.
Task-based theories were also evaluated, with the accent on the definition of tasks, task characteristics, task grading and other factors relating to tasks such as procedural factors. The role of tasks was further explored in second language acquisition, inclusive of the variables that need to be addressed. The definition of tasks into focussed and unfocused tasks are also scrutinized against the learner interaction in the acquisition process.
The implementation of tasks and the impact thereof on comprehension and language acquisition is also reviewed. Different models of methods to design a focussed task are discussed. The successful acquisition of a second language will also be based on the correct collation of data and the sequencing thereof in such manners to allow learners the opportunity to comprehend it as sufficiently as possible. The study further focuses on the methodology of task-based teaching and the use of communicative tasks in second language acquisition. Finally the interviews between the community and the police officials are then analysed in respect of complexity models, against the cognitive and syntactic complexity for specific purposes as well against the genre-approach to second language teaching. The characterizing of such interviews will allow the defining and grading of tasks to ensure sound development of teaching models for second language learning.
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Pole, Tlou Gilbert. "A genre-theoretic analysis of texts of government speeches in Sepedi." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50251.
Full textAbstract:
Thesis (MA)--University of Stellenbosch, 2005.<br>ENGLISH ABSTRACT: This study assumes the theoretical framework of text construction as advanced by Grabe
and Kaplan (1996) for the analysis of Sepedi texts of government speeches from the
magazine: ANC TODAY. The theory that is used in this study invokes the linguistic
elements that can be used by both the teachers and learners to critically analyse texts in
classrooms.
This genre-theoretic approach is employed as framework, for analysing the linguistic,
rhetorical and discourse properties for Sepedi texts. It also addresses the parameters of
the ethnography of writing advanced by Grabe and Kaplan: "who writes what to whom, for
what purpose, why, when and how?'
The text construction analysis executed in the study enable the learners to acquire skills,
knowledge and values of outcomes-based language teaching. The information structuring
of text analysis and construction enables learners to write, read and use language
structure and conventions for learning and career pathways. The textlinguistic strategies
for analysing written texts in language teaching enables learners to analyse texts
successfully and gain an awareness of language use in texts.<br>AFRIKAANSE OPSOMMING: Hierdie studie aanvaar die teoretiese raamwerk van tekskonstruksie soos voorgestaan
deur Grabe en Kaplan (1996) in die analise van Sepedi tekste van regeringstoesprake uit
die tydskrif ANC TODAY. Die teorie wat aanvaar word, gebruik die linguistiese elemente
wat aangewend kan word deur taalonderwysers sowel as taalleerders om tekste krities te
ontleed.
Die genre-teoretiese benadering word ingespan as raamwerk vir die analise van die
linguistiese, retoriese, en diskoerskenmerke van Sepedi tekste. Dit spreek ook die
etnografie van skryf, soos voorgestaan deur Grabe en Kaplan, aan: wie skryf wat aan
wie, vir watter doel, wanneer, waarom, en hoe.
Die tekskonstruksie analise uitgevoer in hierdie studie stel leerders in staat om
vaardighede, kennis en waardighede van uitkoms-gebaseerde taalonderrig te verwerf. Die
informasie strukturering in teksanalise stel leerders in staat om te lees, skryf en praat in
hulle toekomstige beroepe. Die tekslinguistiese strategieë vir die analise van geskrewe
tekste in taalonderrig stel leerders in staat om tekste suksesvol te ontleed en 'n bewussyn
te ontwikkel van taalgebruik in tekste.
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Lekganyane, Diapo Nelson. "Lexicographic perspectives on the use of Sepedi as a high function language /." Pretoria : [S.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-11182005-131048.
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Maahlamela, Tebogo David. "Sepedi oral poetry with reference to kiba traditional dance of South Africa." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/63209.
Full textAbstract:
Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
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Maepa, Sally Makwena. "Epiki: Sengwalo sa Sepedi go hlokometšwe diponagalo tša Leduleputswa (1953) le Sebilwane (1961)." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65574.
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Serudu (1989) and Groenewald (1993) are literary theorists who have attempted to indicate the structure of Sepedi epic narrative. However, in their definitions of the concepts epic narrative, praise poetry, narrative poetry and heroic poetry they differ from each other. They differ from each other in their definitions of the concepts epic narrative, praise poetry, narrative poetry and heroic poetry. Serudu, in his argument, asserts that epic poetry and epic narrative are synonymous, while Groenewald argues that, although they are related to each other, they are not synonyms, because epic narrative focuses on (a) life or the world, as a whole; and (b) the style which is elevated; while heroic poetry focuses on ordinary people/life and their ordinary problems in a certain environment wherein characters, events and milieu play a significant role. The first problem that the discussed theorists reveal is directed at the two concepts: epic poetry and narrative poetry, this is because they imply that epic poetry and narrative poetry are synonymous. Epic poetry is a concept that explains a poem that praises heroism or size; in other words, the important differentiation with this kind of poem is to reveal heroism and size in the person or thing that is being praised. This means that this concept does not differ from that of the praise poem. When Serudu (1992/3:62) explains a praise poem, he stresses that the importance of the events of a praise poem is to reveal ‘heroism or size of the hero that is being praised’. The second problem is that Serudu states that epic poetry is narrative poetry, However, Groenewald (1993:62) does not agree with this statement, he argues that epic poetry and narrative poetry are almost the same but they are not synonymous. What Groenewald argues is that if one is not careful, the two concepts can be confused as one thing when they are analysed, which is not true. Seidler (1959:524-5) supports this, by explaining that epic narrative is aimed at life in general and comes from the poets themselves. Epic narrative is in relation to fantasy. That is why it can be said that its characters are mainly people and ancestors. Its events are in relation to people and to the ancestors.<br>Thesis (PhD)--University of Pretoria, 2017.<br>African Languages<br>PhD<br>Unrestricted
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Schutte, Henriëtte. "The development of early literacy skills among a group of urban Sepedi-speaking children." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-01312006-113635.
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Makgai, Maselepe Colly. "Essay writing skills : a concern in Sepedi secondary schools in the Bronkhorstspruit circuit Gauteng province." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53430.
Full textAbstract:
Essay writing is a stepping stone to broaden the learner s intellect because it helps him or her to think logically, to plan, create and synthesize information which has to be clearly understood by the reader. Brown (2002:1) asserts that it cannot be written haphazardly without following a specific structure and consolidating its ideas with its supporting ideas so that they adhere to the chosen topic . This puts a great challenge to the Grade 10 Sepedi speaking learners who as it has been established in this research do not have the skill to write meaningful essays as evidenced by their incoherent introduction, poor word choice, wrong sentence constructions and illogical paragraphing which all result in poorly structured body paragraphs and concluding paragraphs.
The study investigated the challenges which the Grade 10 Sepedi learners are facing in their essay writing and proposes ways to eliminate common errors so that learners would be able to face their educational future and corporate world with confidence. The investigation was also based on how different types of essays were taught; how essay pre-writing activities were taught to the learners by the educators before a full-fledged essay is written and how learners were taught to write a full-fledged essay. The significance of this study is that learners and educators will be empowered with essay writing skills which will also improve performance.
An in-depth review of the literature related to essay writing skills was presented. The literature review emphasized how some authors interpreted essay writing skills. Different types of essays were unpacked for the learners and educators to make them aware of their differences and their different approaches. Different skills for essay writing were also discussed which included the spider web diagram. Duncan and Clearly (1997:97) concur that writing an essay has to begin with one idea and related ideas that sprout threads to other ideas, which become their own webs .
The method for research included both qualitative and quantitative research. Data was collected from the learners and educators in the form of questionnaires, observations and essays which had already been written by learners. The data was analysed and interpreted in order to give tangible feedback and recommendations. The theoretical framework that underpins this study is based on constructivism. Constructivism is a theory based on observation and scientific study about how people learn. People construct their own understanding and knowledge of the world through experiencing things and reflecting on those experiences (@ 2004 Educational Broadcasting Corporation).
Data from the questionnaires, which consisted of twenty questions, proved that skills for essay writing are not taught by educators to the learners. Data further showed that teachers do not explain the different types of essays and their approach to the learners. Learners were also not taught how to implement process writing, the purpose of which, as endorsed by Murray and Johnson (1994:1) is the gathering of ideas, organisation of ideas, drafting, revising, and editing drafts until the final version is presented for marking . Analysis from the Grade 10 learners written essays brought to light that skills for essay writing are not used by learners during essay writing because they are not familiar with them. Important aspects such as spelling mistakes like legodu instead of lehodu and proper use of pronouns and nouns were some of the findings that needed attention.
The recommendations from the findings will help the teachers to realise that skills for essay writing can be effectively and efficiently imparted to the learners by the educator in the teaching and learning situation in order to empower the learners in essay writing.<br>Mini Dissertation (MA)--University of Pretoria, 2015.<br>African Languages<br>MA<br>Unrestricted
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Uys, Mariaan. "The establishment of implicit perspectives of personality among Sepedi-speaking people in South Africa / Mariaan Uys." Thesis, North-West University, 2008. http://hdl.handle.net/10394/4326.
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Khweyane, Matshelane Anna. "The influence of the dialect Sepulana on learning of Sepedi at Sabie Circuit, Mpumalanaga Province, South Africa." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1674.
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Thesis (M.A. (African Languages))-- University of Limpopo, 2014<br>The study was intended to investigate the influence and the impact which Sepulana as a dialect has on the learning of Sepedi as the standard language. The findings included among others: Sepulana has a negative impact on the learning of Sepedi as a standard language in Sabie circuit, Bohlabela district of Mpumalanga Province. Secondly, most Sepedi educators who speak Sepulana use the dialect to offer Sepedi in the formal classroom situation, and as such, learners become confused on whether to use Sepedi or Sepulana words. The study recommends that teachers of Sepedi be encouraged to teach Sepedi and not Sepulana in class, and also that teachers should upgrade their Sepedi qualifications to enable them to have in-depth knowledge of the language.
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Rauch, Eloise. "Measuring the GRID in the Sepedi, Xitsonga and Tshivenda language groups in the South African Police Service / E. Rauch." Thesis, North-West University, 2009. http://hdl.handle.net/10394/4272.
Full textAbstract:
While the study of emotions is of universal interest because of its central role in the social sciences and humanities, emotions are of special interest for South Africa for both theoretical and applied reasons. South Africa, with its eleven official languages, is a true multicultural society with extreme differences in terms of culture, acculturation, and socio-economic status. Cultural frameworks differ substantially between ethno-cultural groups, and clarification of the differences between cultural frameworks can counter interpretation biases that could result in daily frictions and major conflicts. Additional fundamental cross-cultural research on emotional differences between cultural groups, together with the generation of a mutual understanding of the different cultural frameworks, makes these frameworks explicit and facilitates the incorporation of these frameworks into daily communication and interaction processes.
The objectives of this research were to determine what the emotion structure of the Sepedi, Xitsonga and Tshivenda languages groups within a sample of Sepedi-, Xitsonga- and
Tshivenda-speaking participants is, and how it compares with the European Emotion Structure. Furthermore this research aimed to establish the emotion structure and the relevant and representative features for each emotion component (such as appraisals, action
tendencies, and subjective experiences) that have been encoded in a sample of Sepedi-,
Xitsonga- and Tshivenda-speaking participants.
Like\vise it was deemed necessary to verify (a) the extent to which the emotion words refer to
specific positions on each of the emotion features of these language groups and (b) the extent of similarity or dissimilarity between emotion experiences of the Sepedi, Xitsonga and
Tshivenda groups in the SAPS, as well as to compare the meaning structure between a "bottom-up" and a "top-down" (as conducted in Nicholls' research in 2008) approach between Sepedi-, Xitsonga- and Tshivenda-speaking participants.
A survey design with convenience sampling was used to achieve the research objectives. The
study population (n=390) consisted of Sepedi-, Xitsonga- and Tshivenda-speaking entry-level
police applicants from the South African Police Service (SAPS). The Sepedi, Xitsonga and
Tshivenda GRlD questionnaires were administered. Statistical methods and procedures
(multidimensional scaling and descriptive statistics) were used and Cronbachrs alpha
coefficients were determined to analyse the results. Results of this study on the Sepedi,
Xitsonga and Tshivenda cultural groups indicated the extraction of a two-factor model within
the Sepedi group. Due to the extremely low reliability analyses of the Xitsonga and
Tshivenda language groups' data, a reliable scale analysis and the meaning structures of these
two groups could not be determined. The low reliabilities could be attributed to the direct
language translation of the questionnaire and the assessment may not have captured the full
understanding of the items in the GRlD instrument.
Results of this study for the Sepedi language group corresponded well with the results found
in the study for the Sepedi group conducted by Nicholls (2008) on the emotion lexicon on the
Sepedi, Xitsonga and Tshivenda language groups in South Africa. The Nicholls study (2008)
indicated the extraction of a three-dimensional structure (evaluation, arousal, dominance) and
a four-factor loading (positive emotion, sadness, fear, anger) for the Sepedi-speaking
language group. In comparison, this research presented the extraction of a two-dimensional
structure (evaluation and arousal) and a two-factor loading (positive emotion and sadness).
Emotion concepts of the Sepedi group indicated that basic emotion concepts (love, joy, anger,
sadness, fear, and surprise) readily came to mind in both Nicholls' (2008) and this study.
Emotion concepts listed by the Sepedi group could be interpreted as emotion words
associated with social, personality or environmental aspects and may be related to negative evaluation, dominance and/or aggression.
Recommendations for future research were made.<br>Thesis (M.Com. (Industrial Psychology)--North-West University, Potchefstroom Campus, 2010.
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Nicholls, Tanja. "Emotion lexicon in the Sepedi, Xitsonga and Tshivenda language groups in South Africa : the impact of culture on emotion / T. Nicholls." Thesis, North-West University, 2008. http://hdl.handle.net/10394/2141.
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Sethole, Sharo Peter. "The nature and extent of mother tongue interference by Sepedi on the effectiveness of learning English among Information Technology foundation students at Tshwane University of Technology." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46227.
Full textAbstract:
This dissertation investigates the mother tongue interference by Sepedi and the impact of errors on the effectiveness of English learning among Information Technology (IT) foundation students at Tshwane University of Technology. To tackle problems with learning English, curriculum innovators need to develop English language intervention courses that are relevant for addressing the shortfalls in the of learning English among IT foundation students. In this study, l examine the errors relating to the students’ English language skills.
The autobiographical essays that students were asked to write were used to investigate first language interference on second language and the errors that are transferred from the first language to the second language. Foundation students of Information Technology were chosen for this purpose because they are in an extended programme and do not qualify to be admitted to first year of study. Qualitative research methodologies were used in this study.
Accordingly, Students were used as the data collection population to reveal the extent of Sepedi interference and error transfer in English language learning. The data collected were analysed using descriptive and content analysis methods. The study addresses the central research question: “How do mother tongue interference and language errors influence the effectiveness with which English is learnt by IT foundation students at TUT?”
The study will make recommendations for the improvement of English language teaching and will provide a learning model that can be used in the future to improve the English Language skills of Information Technology students.<br>Mini-dissertation (MA)--University of Pretoria, 2014.<br>tm2015<br>Afrikaans<br>MA<br>Unrestricted
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Montjane, Raesibe Oniccah. "The influence of English on mother-tongue in learning and teaching in secondary schools (Fet Band) with specific reference to Sepedi in Mankweng Circuit in the Limpopo Province." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1287.
Full textAbstract:
Thesis (MA. (Translation Studies and Linguistics)) -- University of Limpopo, 2013<br>The study sought to investigate the challenges that the learners and educators encountered in learning and teaching when they use English as a medium of instruction. The study reveals that African languages, along with their culture are being dominated by English. Most of Pedis’ learners cannot speak Sepedi without mixing it with English, and most of African people usually read English books and neglecting the Indigenous books.
In addition, the study shows that learners performed better when they were taught in Sepedi than in English. The educators’ responses showed that learners have difficulties in understanding English as the medium of instruction and that they code-switch from English to Sepedi to enhance understanding.
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Malindi, Nokuthula Yvonne. "Solving problems of non-equivalence when translating highly technical texts into an African Language : the translation of chemistry terms into isiZulu for a quadrilingual explanatory dictionary of chemistry (English Afrikaans isiZulu Sepedi)." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53432.
Full textAbstract:
The focus of this study is on solving non-equivalence problems when translating a highly technical text. This study investigates the term formation strategies used in providing the isiZulu term translation equivalents of 50 English chemistry dictionary entries and their definitions into isiZulu, totalling approximately 1 109 source text terms. This dictionary is a Quadrilingual Explanatory Dictionary for Chemistry (QEDC) comprises four languages, which are English, Afrikaans, Pedi and Zulu. I am providing and investigating the isiZulu translation equivalents only.
The term list/DIY glossary was created using English chemistry terms excerpted manually from 50 chemistry dictionary entries definitions and terms collected from a ?keywords list. The keyword list was extracted from the source text semi-automatically using WordSmith Tools (a corpus query tool). This term list/DYI glossary was provided with isiZulu translation equivalents from the existing general isiZulu dictionaries and terminology lists.
Due to the problem of non-equivalence between English and isiZulu, only 30% of translation equivalents could be found in the existing sources referred to above.
The next step was therefore to collaborate with a chemistry specialist/expert, who is an isiZulu mother-tongue speaker, to try to find and/or create suitable translation equivalents for those terms that did not have ready translation equivalents which could not be found in the written sources referred to above. By consulting with the specialist/expert, the newly coined/created isiZulu terms could be ?legitimised . The term list/DIY glossary was then used for the translation of the source text. Before these translation term equivalents could be used for translating the source text, they were then back translated for validation reasons, i.e. to identify vagueness in the equivalents provided, as these are technical terms. For the translation of the source text, it was necessary to determine which of the various isiZulu translation equivalents for a particular SL term should be selected for use in the translation task. The consolidated term list/glossary was used not only as a DIY glossary/term list to translate the source text, but was also used in this study as terminological data in an analysis of the term formation strategies applicable and used in finding isiZulu translation equivalents for the English chemistry terms. The various strategies used were identified with reference to the term formation strategies listed by Baker (1992: 26 41), and Mtintsilana and Morris (1998: 110 112). The frequency of use of these term formation strategies applied to the translation task at hand were subsequently broadly analysed statistically.
The study uncovered a number of term formation strategies used in providing the various isiZulu chemistry translation equivalents. These strategies include the use of loan words, paraphrasing, transliteration, semantic shift, compounding, etc.
It was also clear from the term selection for use in the translation of the ST that both the translator and subject field specialist/expert preferred directly insertable translation equivalents rather than, for example, paraphrases, which could be cumbersome.
The predominance of borrowing as a term formation strategy can probably be ascribed to the highly technical nature of the ST. It is, however, heartening to note that after borrowing, the most preferred strategy is the use of ready translatable equivalents, i.e. indigenous isiZulu terms.
However, the practice of borrowing as a term formation strategy has a negative impact on the one-to-one relationship of a concept and its term, since a borrowed term does not assist in concept formation and the user s understanding the concept. I am of the opinion that this state of affairs is a result of the slow process in the standardisation of isiZulu terms, particularly in highly technical fields such as the field of chemistry.<br>Mini Dissertation (MA)--University of Pretoria, 2015.<br>African Languages<br>MA<br>Unrestricted
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Falahkohan, Sepiede [Verfasser]. "Zystische Fibrose : szientometrische Analyse einer genetischen Erkrankung / Sepiede Falahkohan." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2011. http://d-nb.info/1026174589/34.
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Spadoni, Alberto. "Confronto tra tecniche di clearance plasmatica nella sepsi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amslaurea.unibo.it/3524/.
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Philpot, Rex Montgomery. "The developing nucleus accumbens septi susceptibility to alcohols' effects /." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000410.
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Philpot, Rex Montgomery. "The Developing Nucleus Accumbens Septi: Susceptibility to Alcohol’s Effects." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1196.
Full textAbstract:
The mesolimbic dopamine (DA) system has been implicated in providing the basis of pleasure, guiding the general mechanism of reinforcement as well as motivation. Support for these roles have grown from neurochemical research in the field of addiction. It is now well known that DA activity increases in the nucleus accumbens septi (NAcc) with exposure to addictive substances. Moreover, pharmacological manipulation of this system produces predictable changes in the administration of drugs of abuse, as well as natural reinforcers. This system is responsive to natural reinforcers and addiction may be the transference of routine mesolimbic function to environmental stimuli predictive of drug administration. The role of the NAcc in addiction specifically appears to be the facilitation of attention to drug-paired stimuli and addiction may be the behavioral manifestation of conditioned NAcc DA reactivity to the presence of drug-related stimuli. Although these findings have been reported in adults, few studies have focused on adolescence, the time when drug use/abuse begins. Adolescents may be particularly susceptible to addiction when considered in the light of this hypothesis. Recent research has revealed that the mesolimbic system of periadolescent animals is undergoing dramatic transition in functional tone. DA receptor and transporter levels are up regulated, synthesis rates are altered, and innervation from prefrontal cortex (PFC), involved in regulating tonic and phasic DA activity, is increasing. Consequently, during adolescence there is a dramatic change in tonic DA levels, variations in phasic responses to acute drug administration and alterations in how the system adapts to repeated drug exposure. The present study utilizes the procedures of conditioned place preference, Novelty preference and in vivo microdialysis to determine how this conditioning process changes during the period of adolescence. The results indicate that adolescents are different from adults not only on behavioral measures associated with drug abuse, but in their neurochemical responsiveness to alcohol, and that these differences are related to a general developmental aspect of adolescence that renders them susceptible to addiction.
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Uroš, Batranović. "Prognostički značaj venoarterijskog gradijenta ugljen-dioksida u teškoj sepsi." Phd thesis, Univerzitet u Novom Sadu, Medicinski fakultet u Novom Sadu, 2017. http://www.cris.uns.ac.rs/record.jsf?recordId=104158&source=NDLTD&language=en.
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Veno-arterijski gradijent ugljen-dioksida (Pv-aCO2) se smatra pokazateljem adekvatnosti microcirculatornog venskog protoka. U stanjima usporenog protoka dolazi do povećavanja Pv-aCO2 zbog fenomena zadržavanja CO2. Vrednost Pv-aCO2 predložena je kao dodatni cilj rane usmerene terapije kod pacijenata sa septičnim šokom. Cilj rada bilo je utvrditi postojanje korelacije promene Pv-aCO2 s promenom SOFA (“Sequential Organ Failure Assessment”) skora (delta SOFA) nakon primene rane ciljane terapije, kao i korelacije vrednosti različitih pokazatelja krvnog protoka unutar prvih 12 sati od početka lečenja pacijenata sa sepsom. Sekundarni cilj bilo je utvrditi postojanje korelacije Pv-aCO2 6 sati nakon početka rane ciljane terapije (T6) s dužinom boravka u intenzivnoj jedinici i ishodom lečenja. Prospektivnim, neintervencijskim ispitivanjem obuhvaćeno je 150 pacijenata sa sepsom ili septičnim šokom. Merenja serumskog laktata, saturacije kiseonikom mešane venske krvi (ScvO2) i Pv-aCO2 vršena su na početku rane ciljane terapije (T0), posle 6 i 12 sati (T6, T12). Pv-aCO2 se računao kao razlika između parcijalnog pritiska ugljen dioksida arterijske i mešane venske krvi. Vrednost SOFA skora određivana je u vremenu T0 i nakon 48 časova (T48). Pacijenti su za potrebe analize podeljeni u dve grupe na osnovu promene SOFA skora [(1) pacijenti kod kojih je došlo do smanjenja SOFA skora (delta SOFA < 0); (2) pacijenti kod kojih je smanjenje SOFA skora izostalo (delta SOFA ≥ 0)] i na osnovu vrednosti Pv-aCO2 u vremenu T6 [(1) pacijenti sa visokim Pv-aCO2 (≥ 0.8 kPa); (2) pacijenti sa normalnim Pv-aCO2 (< 0.8 kPa)]. Između dve grupe pacijenata, sa normalnim i visokim Pv-aCO2, statistički značajne razlike uočene su samo u odnosu na najvišu vrednost respiratorne komponente SOFA skora (p=0.01). Uočena je statistički značajna korelacija između vrednosti Pv-aCO2 i laktata u vremenu T6 (r=0.2), Pv-aCO2 i ScvO2 u vremenu T0 (r=-0.4) i T12 (r=-0.24) kao i laktata i ScvO2 u vremenu T0 (r=-0.26) i T12 (r=-0.18). Analizom ponavljanih merenja nije utvrđena statistički značajna korelacija između promene vrednosti Pv-aCO2 unutar prvih 6 sati s promenom SOFA skora unutar prvih 48 sati nakon početka rane ciljane terapije (p=0.12). Utvrđeno je da su vrednosti Pv-aCO2 u vremenu T6 bile loš prediktor smrtnog ishoda. Nisu utvrđene statistički značajne razlike u dužini boravka u intenzivnoj jedinici i ishodu lečenja u zavisnosti od vrednosti Pv-aCO2.<br>Central venous-arterial CO2 difference (Pv-aCO2) reflects adequacy of microcirculatory venous flow. Widening of Pv-aCO2 due to CO2-stagnant phenomenon is described in the low flow states. Pv-aCO2 was proposed as an additional resuscitation target for patients with septic shock.The aim of this study was to examine correlation between changes in Pv-aCO2 and SOFA score as well as different blood flow indices (lactate, mixed venous oxygen saturation) 12 hours after onset of resuscitation in patients with sepsis or septic shock. Secondary aim was to evaluate association of delta CO2 6 hours after onset of resuscitation and patient outcomes (length of stay in the ICU, mortality). Prospective observational study included 150 patients with sepsis. Simultaneous measurements of lactate, mixed venous oxygen saturation (ScvO2) and delta PCO2 were performed at onset of resuscitation (T0) and after 6 hours (T6). Delta PCO2 was calculated as a difference between arterial PCO2 and PCO2 from mixed venous blood. Organ dysfunction was evaluated with the Sequential Organ Failure Assessment (SOFA) score at T0 and after 48 hours (T48). Mortality was assessed after 28 days. For data analysis purposes two groups were created based on delta SOFA [(1) patients with SOFA score decrease (delta SOFA <0); (2) patients without SOFA score decrease (delta SOFA ≥ 0)] and based on Pv-aCO2 [(1) patients with high Pv-aCO2 (≥0.8 kPa); (2) patients with normal Pv-aCO2 (<0.8 kPa). Patients with high and normal Pv-aCO2 differed only with respect to highest respiratory SOFA score (p=0.01) Change in Pv-aCO2 between T0 and T6 was not in correlation with change in SOFA score between T0 and T48 (p=0.12). Moderate statistically significant correlation was found between Pv-aCO2 and lactate at T6 (r=0.2), and moderate inverse correlation between Pv-aCO2 and ScvO2 at T0 (r=-0.4) and T12 (r=-0.25) and ScvO2 and lactate at T0 (r=-0.27) and T12 (r=-0.18). Pv-aCO2 at T6 was not associated with 28-day mortality and length of stay in the ICU.
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Azghandi, Sepiede [Verfasser], and Christof [Akademischer Betreuer] Haffner. "Effect of HDAC9 deficiency on atherosclerosis and stroke / Sepiede Azghandi. Betreuer: Christof Haffner." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2015. http://d-nb.info/1080122338/34.
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Rossato, Ana Stela [UNESP]. "Uso de antioxidantes naturais em hambúrgueres preparados com carne mecanicamente sepada de tilápia." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/88630.
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000633863_20191231.pdf: 202003 bytes, checksum: a1292088f71d2487a0a75c1030cfa857 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>As degradações químicas e microbiológicas constituem os principais fatores de deterioração dos alimentos, sendo a oxidação um dos mais importantes processos de degradação por gerar sabores e odores desagradáveis. Como forma de prevenir ou retardar a oxidação, são adicionados ao alimento substâncias antioxidantes, e os condimentos têm demonstrado poder antioxidante, oferecendo uma alternativa ao uso de antioxidantes sintéticos. O objetivo deste trabalho foi elaborar hambúrgueres com carne mecanicamente separada (CMS) de tilápia-do-Nilo com adição de orégano e alecrim, e a avaliação da eficiência destas especiarias como antioxidantes. Foram elaboradas formulações contendo 0,10; 0,15 e 0,20% de orégano ou alecrim e um produto sem antioxidante. A composição centesimal, avaliação microbiológica e análise sensorial foram realizadas no início e final do armazenamento e, periodicamente foram determinados TBARS, BNVT, pH, cor instrumental e contagem de microrganismos psicrotróficos. Os resultados mostraram que o uso de orégano preveniu mais eficientemente a oxidação dos lipídeos durante 120 dias de armazenamento a -18 ºC, avaliado pelos menores valores de TBARS. Entre as porcentagens de orégano utilizadas a 0,20% impediu a oxidação desde o início (0,23 mg MDA.kg-1), e manteve por mais tempo a estabilidade da cor (a*) dos hambúrgueres. Houve interferência nos valores de pH, com menores medidas iniciais com o uso do orégano (6,15 a 6,08), e BNVT não foram alteradas com os condimentos. Não foi detectada presença de Salmonella e os resultados para estafilococos coagulase positiva ficaram dentro dos padrões legais. O orégano 0,20% e alecrim 0,20% nas formulações dos hambúrgueres apresentaram a menor contagem de psicrotróficos aos 120 dias. Pelas análises sensoriais as formulações com orégano foram...<br>Chemistry and microbiological degradations are the main causes of food deterioration, and oxidation is one of the most important process of degradation because it can generate unpleasant flavor. As a way to prevent or retard oxidation, antioxidant substances are added in the food. The condiments have demonstrated antioxidant activity and offer an alternative in order to replace synthetic antioxidants. The aim of this study is to evaluate the efficiency of oregano and rosemary as natural antioxidants used in tilapia fishburger made with CMS (minced fish) and stored frozen for 120 days. It was elaborated formulations of fishburgers containing 0.10%, 0.15% and 0.20% of oregano or rosemary and one without antioxidant. Protein, fat, moisture and ashes determination, microbiological analysis and sensory evaluations were conducted in the beginning and the end of storage period. TBARS, BNVT, pH, instrumental color and psychrotrophic microorganism count were determined periodically. Oregano was found to be more effective in preventing lipid oxidation during 120 days under freezing (-18 oC), evaluated by TBARS values, and oxidative stability was observed for the formulation with 0.20% of oregano. The antioxidants interfered in pH values, oregano formulations showed the lowest values, and did not cause changes in BNVT. The lower values of TBARS in formulations containing oregano showed that this substance did prevent oxidation more efficiently than rosemary during 120 days of storage under -18 ºC. In relation to the formulations with oregano, the one with 0.20% of oregano had the most oxidation inhibition since the beginning of storage time (0.23 mg MDA.kg-1), and maintained the color (a*) stability for longer duration. There was interference in the pH, the hamburgers made with oregano had the lowest initial values (6.15 a 6.08) and BNVT was unaltered with the condiments... (Complete abstract click electronic access below)
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Rossato, Ana Stela. "Uso de antioxidantes naturais em hambúrgueres preparados com carne mecanicamente sepada de tilápia /." Araraquara : [s.n.], 2010. http://hdl.handle.net/11449/88630.
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Orientador: Maria Regina Barbieri de Carvalho<br>Banca: Maria da Penha Longo Mortatti Catanozi<br>Banca: Felipe Shindy Aiura<br>Resumo: As degradações químicas e microbiológicas constituem os principais fatores de deterioração dos alimentos, sendo a oxidação um dos mais importantes processos de degradação por gerar sabores e odores desagradáveis. Como forma de prevenir ou retardar a oxidação, são adicionados ao alimento substâncias antioxidantes, e os condimentos têm demonstrado poder antioxidante, oferecendo uma alternativa ao uso de antioxidantes sintéticos. O objetivo deste trabalho foi elaborar hambúrgueres com carne mecanicamente separada (CMS) de tilápia-do-Nilo com adição de orégano e alecrim, e a avaliação da eficiência destas especiarias como antioxidantes. Foram elaboradas formulações contendo 0,10; 0,15 e 0,20% de orégano ou alecrim e um produto sem antioxidante. A composição centesimal, avaliação microbiológica e análise sensorial foram realizadas no início e final do armazenamento e, periodicamente foram determinados TBARS, BNVT, pH, cor instrumental e contagem de microrganismos psicrotróficos. Os resultados mostraram que o uso de orégano preveniu mais eficientemente a oxidação dos lipídeos durante 120 dias de armazenamento a -18 ºC, avaliado pelos menores valores de TBARS. Entre as porcentagens de orégano utilizadas a 0,20% impediu a oxidação desde o início (0,23 mg MDA.kg-1), e manteve por mais tempo a estabilidade da cor (a*) dos hambúrgueres. Houve interferência nos valores de pH, com menores medidas iniciais com o uso do orégano (6,15 a 6,08), e BNVT não foram alteradas com os condimentos. Não foi detectada presença de Salmonella e os resultados para estafilococos coagulase positiva ficaram dentro dos padrões legais. O orégano 0,20% e alecrim 0,20% nas formulações dos hambúrgueres apresentaram a menor contagem de psicrotróficos aos 120 dias. Pelas análises sensoriais as formulações com orégano foram... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: Chemistry and microbiological degradations are the main causes of food deterioration, and oxidation is one of the most important process of degradation because it can generate unpleasant flavor. As a way to prevent or retard oxidation, antioxidant substances are added in the food. The condiments have demonstrated antioxidant activity and offer an alternative in order to replace synthetic antioxidants. The aim of this study is to evaluate the efficiency of oregano and rosemary as natural antioxidants used in tilapia fishburger made with CMS (minced fish) and stored frozen for 120 days. It was elaborated formulations of fishburgers containing 0.10%, 0.15% and 0.20% of oregano or rosemary and one without antioxidant. Protein, fat, moisture and ashes determination, microbiological analysis and sensory evaluations were conducted in the beginning and the end of storage period. TBARS, BNVT, pH, instrumental color and psychrotrophic microorganism count were determined periodically. Oregano was found to be more effective in preventing lipid oxidation during 120 days under freezing (-18 oC), evaluated by TBARS values, and oxidative stability was observed for the formulation with 0.20% of oregano. The antioxidants interfered in pH values, oregano formulations showed the lowest values, and did not cause changes in BNVT. The lower values of TBARS in formulations containing oregano showed that this substance did prevent oxidation more efficiently than rosemary during 120 days of storage under -18 ºC. In relation to the formulations with oregano, the one with 0.20% of oregano had the most oxidation inhibition since the beginning of storage time (0.23 mg MDA.kg-1), and maintained the color (a*) stability for longer duration. There was interference in the pH, the hamburgers made with oregano had the lowest initial values (6.15 a 6.08) and BNVT was unaltered with the condiments... (Complete abstract click electronic access below)<br>Mestre
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Thokoane, Makgalakgatha Daniel. "Ditaodišo tša Sepedi (Sepedi)." Thesis, 2006. http://hdl.handle.net/2263/23857.
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The objective of this investigation is to look into, and to describe, the development and merit of the Sepedi essay-oeuvre. The works taken into account are the essay collections that were published from 1943 to 1996. At the same time, the various sub-genres of the essay are described. These works are also appraised according to merit, in order to be able to illustrate the evolution of the genre. In order to succeed herein, the researcher has to describe, interpret, classify, and evaluate these works. The descriptive frame of reference used here is the one that has been established by the Department of African Languages, and which is an adapted model of the narratological. Here, three levels are distinguished, namely: (a) the narrative material where the subject is the primary concept; (b) the strategy of composition where the theme concept is especially relevant; and (c) the stylistic finishing of the work in which the author implants his own view of the matters therein. Before the investigation could be tackled formally, the road had to be traversed on what had been done previously on the essay in Sepedi. The articles of Groenewald and Mojalefa respectively, as well as the dissertation of Mohlala, covered only a scanty area of the total field of investigation. The essay concept is then defined. This necessarily led to a description of the genesis of this genre. Here short reference is made to the early French art of the essay. At this point the essay in English is also mentioned, primarily because of the connection to the essayist in Sepedi. The distinction between the formal and the informal essay is briefly discussed, after which we focus our research primarily on the latter. Because the essay, akin to the short story and the sketch, forms part of the art of the pithy, the difference between these three narrative forms is comprehensively elucidated. The various essays are then considered. The narrative material is summarised. The composition of material is discussed under the following headings: (a) The title; (b) the introduction; (c) the elaboration of the data; and (d) the recapitulation. According to these, three distinct categories of essay are differentiated, namely (a) the pioneering phase, (b) the experimental phase and (c) the phase of maturity. The essays of Matlala are classified in the first phase; in the second phase the labours of Masemola, Mojapelo, Tlooke and Mangokwane, then the essays of Mahapa, Mabitje, Selwalekwanadi, Makopo, Phala and Chupyane are grouped in the third phase. In the final, recapitulative chapter, the particular merits of (a) Matlala and Chupyane and (b) Mahapa and Mabitje are investigated. In the former, the versatility of Matlala and Chupyane is discussed, especially with respect to the wide range of types of essay that they wrote. Mahapa and Mabitje are then considered as essay innovators: first for the use of metaphor in the composition of the tale and, secondly, because the essays of both are presented in sequences, a fresh practice that enriches the traditional craft of the essay.<br>Thesis (DLitt (African Languages))--University of Pretoria, 2008.<br>African Languages<br>DLitt<br>Unrestricted
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Maruma, Mamalatswa Walburga. "Kgegeo Dingwalong Tša Sepedi (Sepedi)." Thesis, 2012. http://hdl.handle.net/2263/25574.
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In Sepedi, there is a problem of using irony instead of satire in reference to literary genres. The difference between the two concepts is that irony is a figure of speech and satire is a text type. To bring clarity on this issue, an attempt was made to give a thorough explanation of these concepts. In addition to this, emphasis was on the indication of how irony is employed in writing satire , explanation of structure of genres classified as irony, the correct name for such writings and an indication of how style differentiates those genres. Satire as a literary genre, like moral and didactical narratives has the aim of exposing evil in the society. In the light of this, an attempt was made to differentiate between satire as a literary genre and as a didactical narrative. In an attempt to clarify this, use was made of narratological model which emphasises content, plot and style in genre analysis. Irony as a figure of speech is embedded in the analysis of style in a text. This implies contrast which may be vertical or horizontal, depending on the position of words, sentences or morphemes in a sentence. When used vertically, it gives a meaning different from the reality, thus saying the opposite of what one means. To give a thorough explanation of the concept of satire, it was differentiated from moral stories by using two short stories namely, ‘Nna nka se je dipute…’ from Mantšhaotlogele (1985) by S.N. Nkadimeng and ‘Nka se sa boeletša’ from Medupi ya megokgo (1985) by D.L.M Mpepele. The two short stories were preferred in this study because of remarkable resemblances in respect of their content. They both outline the conflict between the child and a parent and they are similar in setting and milieu. The differences of these concepts as outlined in the summary of this work lies in their style. In his work, Nkadimeng stated the conflict in such a way that it is resolved by introducing a new character, the father in this case, who seemed to be passive all along. He intervenes in the conflict to act as the conscience of the mother, jolting her to her senses on time. Nkadimeng’s style is cool and calm, thus creates a pleasant atmosphere. Mpepele outlined the conflict until the parent acknowledges his wrong behaviour and confesses that he will never do it again. The father thus learned a hard way. Mpepele’s style is sharp, self – biting and spells out venom which effectively intercepts the lesson the father must learn.<br>Thesis (DLitt)--University of Pretoria, 2012.<br>African Languages<br>unrestricted
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Maila, Ramalau Andries. "Kgolo ya Tiragatšo ya Sepedi (Sepedi)." Thesis, 2007. http://hdl.handle.net/2263/27882.
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The aim of this investigation is to examine and discuss the growth and development of the Sepedi drama. With the aim in mind, both written (stage) dramas and radio dramas that were broadcast and appeared in book form at a later stage were taken into account. Traditional rituals that are regarded as dramas by some researchers also received attention. A comparison of these various works shows (a) how the way of life and cultural views of the Bapedi have changed due to adaptation to changing circumstances, (b) how the authorship of the authors has developed and (c) which tendencies are present in drama. In a study such as the one undertaken here, it is essential that the concept ‘drama’ be defined very clearly, mainly because the so-called traditional production differs vastly from conventional works such as the stage drama and the radio drama. The works of Finnegan (1970) and Dhlomo (1939) played a very important role in the discussion of the traditional drama. Differences and similarities between stage, radio and traditional drama were recorded in detail. The period from 1935 (the year in which the first written literary work appeared in Sepedi) to 1994 is covered with regard to written works. Problems in connection with the publication of literary works compelled the researcher to use 1994 as the cut-off date in his research. Such problems are only briefly mentioned. The growth and development of the Sepedi drama is presented mainly in the form of an evaluative historical report. At the same time, it is also pointed out how the writing skills of the dramatists improve, particularly after the sixties when radio dramas were first broadcast in Sepedi. In order to point out the different tendencies in Sepedi drama, other literatures were examined for criteria that can be used for such groupings. The Serudu (1983) and Groenewald (1983) classifications that cover phases or periods in literature as a whole and not just drama were also examined. Whereas the English discuss the growth of drama in terms of historical, social and political happenings or circumstances, Serudu (1983) and Groenewald (1983) divided their discussion of the phases of development into periods of ten years. In order to discuss the development of Sepedi drama in terms of tendencies or phases, this study has concentrated on two issues, namely the content and the arrangement of the facts by the author. Authors started writing more and more about apartheid and the decay of traditional manners and customs. The latter clearly represents the drastic changes that took place on a socio-cultural level. With regard to the second task, namely the processing of material to form a drama, there are two distinct groupings in connection with written works: (a) stage drama and (b) radio drama. Although the writing skills in the creation of stage drama did improve in the course of time, the stage drama was never of the same standard as the radio drama. The reason for this is obvious; stage drama has hardly ever been performed and there is no feedback from the spectator body (like critics). These works were furthermore kept alive artificially by the school syllabus. This has the result that these two drama groupings constitute the important development phases of the Sepedi drama. One may not, however, lose sight of the fact that the traditional drama not only still exists and is still being ‘performed’ but that it has been renewed and has adapted to modern circumstances. Three groupings that reflect the development and growth of Sepedi drama can thus be distinguished at present.<br>Thesis (DLitt (General Literary Theory))--University of Pretoria, 2007.<br>African Languages<br>DLitt<br>unrestricted
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Kekana, Thupana Solomon. "Sebopego sa diretotumio ta bogologolo ta ditaola ta Sepedi (Sepedi)." 2005. http://upetd.up.ac.za/thesis/available/etd-07102007-150705.
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