Academic literature on the topic 'Xhosa language – Writing'

The present study proposes a new interpretation of the underlying distortion in APRAXIA OF SPEECH. Apraxia of speech, in its pure form, is the only neurolinguistic syndrome for which it can be argued that phonological structure is selectively distorted.Apraxia of speech is a nosological entity in its own right which co-occurs with aphasia only occasionally. This…conviction rests on detailed descriptions of patients who have a severe and lasting disorder of speech production in the absence of any significant impairment of speech comprehension, reading or writing as well as of any significant paralysis or weakness of the speech musculature.(Lebrun 1990: 380)Based on the experimental investigation of poorly coarticulated speech of patients from two divergent languages (German and Xhosa) it is argued that apraxia of speech has to be seen as a defective implementation of phonological representations at the phonology–phonetics interface. We contend that phonological structure exhibits neither a homogeneously auditory pattern nor a motor pattern, but a complex encoding of sequences of speech sounds. Specifically, it is maintained that speech is encoded in the brain as a sequence of distinctive feature configurations. These configurations are specified with differing degrees of detail depending on the role the speech segments they underlie play in the phonological structure of a language. The transfer between phonological and phonetic representation encodes speech sounds as a sequence of vocal tract configurations. Like the distinctive feature representation, these configurations may be more or less specified. We argue that the severe and lasting disorders in speech production observed in apraxia of speech are caused by the distortion of this transfer between phonological and phonetic representation. The characteristic production deficits of apraxic patients are explained in terms of overspecification of phonetic representations.

This paper explores South African hip-hop activist Emile YX?'s work to suggest that he presents an alternative take on mainstream US and South African hip-hop. While it is arguable that a great deal of mainstream hip-hop is commercially co-opted, it is clear that a significant amount of US hip-hop (by Angel Haze or Talib Kweli, for example) and hip-hop beyond the US (by Positive Black Soul, Godessa, Black Noise or Prophets of da City, for example) present alternatives to its co-option. Emile YX? pushes for an alternative to mainstream hip-hop's aesthetics and politics. Foregoing what Prophets of da City call “mindless topics” (Prophets of da City “Cape Crusader”), he employs hip-hop to engage audiences critically about social and political issues, including language and racial identity politics. Significantly, he embraces AfriKaaps, which is a challenge to the hegemonic speech variety of Afrikaans. From Emile's perspective, AfriKaaps preceded Afrikaans because it was spoken by slaves during the Cape colonial era and was later culturally appropriated by Afrikaner Nationalists in the apartheid era to construct white, Afrikaner identity as pure and bounded. AfriKaaps in hip-hop therefore presents an alternative to mainstream US-centric hip-hop in South Africa (via AKA or Cassper Nyovest, for example) as well as Afrikaner Nationalist representations of Afrikaans and race by promoting multilingual hip-hop aesthetics, which was initially advanced by Prophets of da City in the early '90s.Pursuing Alternative TrajectoriesEmile YX?, a former school teacher, started out with the Black Consciousness-aligned hip-hop crew, Black Noise, as a b-boy in the late 1980s before becoming an MC. Black Noise went through a number of iterations, eventually being led by YX? (aka Emile Jansen) after he persuaded the crew not to pursue a mainstream record deal in favour of plotting a career path as independent artists. The crew’s strategy has been to fund the production and distribution of their albums independently and to combine their work as recording and performing artists with their activism. They therefore arranged community workshops at schools and, initially, their local library in the township, Grassy Park, before touring nationally and internationally. By the late 1990s, Jansen established an NGO, Heal the Hood, in order to facilitate collaborative projects with European and South African partners. These partnerships, not only allowed Black Noise crew members to continue working as hip-hip activists, but also created a network through which they could distribute their music and secure further bookings for performances locally and internationally.Jansen’s solo work continued along this trajectory and he has gone on to work on collaborative projects, such as the hip-hop theatre show Afrikaaps, which looks critically at the history of Afrikaans and identity politics, and Mixed Mense, a b-boy show that celebrates African dance traditions and performed at One Mic Festival at the Kennedy Center in Washington DC in 2014 (48 Hours). This artist’s decision not to pursue a mainstream record deal in the early 1990s probably saved Black Noise from being a short-lived pop sensation in favour of pursuing a route that ensured that Cape hip-hop retained its alternative, Black Consciousness-inspired subcultural edge.The activism of Black Noise and Heal the Hood is an example of activists’ efforts to employ hip-hop as a means of engaging youth critically about social and political issues (Haupt, Stealing Empire 158-165). Hence, despite arguments that the seeds for subcultures’ commercial co-option lie in the fact that they speak through commodities (Hebdige 95; Haupt, Stealing Empire 144–45), there is evidence of agency despite the global reach of US cultural imperialism. H. Samy Alim’s concept of translocal style communities is useful in this regard. The concept focuses on the “transportability of mobile matrices – sets of styles, aesthetics, knowledges, and ideologies that travel across localities and cross-cut modalities” (Alim 104-105). Alim makes the case for agency when he contends, “Although global style communities may indeed grow out of particular sociohistoric originating moments, or moments in which cultural agents take on the project of creating ‘an origin’ (in this case, Afrodiasporic youth in the United States in the 1970s), it is important to note that a global style community is far from a threatening, homogenizing force” (Alim 107).Drawing on Arjun Appadurai’s concepts of ethnoscapes, financescapes, ideoscapes and mediascapes, Alim argues that the “persistent dialectical interplay between the local and the global gives rise to the creative linguistic styles that are central to the formation of translocal style communities, and leads into theorizing about glocal stylizations and style as glocal distinctiveness” (Appadurai; Alim 107). His view of globalisation thus accommodates considerations of the extent to which subjects on both the local and global levels are able to exercise agency to produce new or alternative meanings and stylistic practices.Hip-Hop's Translanguaging Challenge to HegemonyJansen’s “Mix en Meng It Op” [“Mix and Blend It / Mix It Up”] offers an example of translocal style by employing translanguaging, code mixing and codeswitching practices. The song’s first verse speaks to the politics of race and language by challenging apartheid-era thinking about purity and mixing:In South Africa is ek coloured and African means black raceFace it, all mense kom van Africa in the first placeErase all trace of race and our tribal divisionEk’s siek en sat van all our land’s racist decisionsMy mission’s om te expose onse behoort aan een rasHou vas, ras is las, watch hoe ons die bubble barsPlus the mixture that mixed here is not fixed, sirStir daai potjie want ons wietie wattie mixtures wereThis illusion of race and tribe is rotten to the coreWhat’s more the lie of purity shouldn’t exist anymoreLook at Shaka Zulu, who mixed all those tribes togetherMixed conquered tribes now Amazulu foreverHave you ever considered all this mixture before?Xhosa comes from Khoe khoe, do you wanna know more?Xhosa means angry looking man in Khoe KhoeSoe hulle moet gemix het om daai clicks to employ(Emile YX? “Mix en Meng It Op”; my emphasis)[In South Africa I am coloured and African means black raceFace it, all people come from Africa in the first placeErase all trace of race and our tribal divisionI’m sick and tired of all our land’s racist decisionsMy mission’s to expose the fact that we belong top one raceHold on, race is a burden, watch as we burst the bubble Plus the mixture that mixed here is not fixed, sirStir that pot because we don’t know what the mixtures wereThis illusion of race and tribe is rotten to the coreWhat’s more the lie of purity shouldn’t exist anymoreLook at Shaka Zulu, who mixed all those tribes togetherMixed conquered tribes now Amazulu foreverHave you ever considered all this mixture before?Xhosa comes from Khoe khoe, do you wanna know more?Xhosa means angry looking man in Khoe KhoeSo they must have mixed to employ those clicks]The MC does more than codeswitch or code mix in this verse. The syntax switches from that of English to Afrikaans interchangeably and he is doing more than merely borrowing words and phrases from one language and incorporating it into the other language. In certain instances, he opts to pronounce certain English words and phrases as if they were Afrikaans (for example, “My” and “land’s”). Suresh Canagarajah explains that codeswitching was traditionally “distinguished from code mixing” because it was assumed that codeswitching required “bilingual competence” in order to “switch between [the languages] in fairly contextually appropriate ways with rhetorical and social significance”, while code mixing merely involved “borrowings which are appropriated into one’s language so that using them doesn't require bilingual competence” (Canagarajah, Translingual Practice 10). However, he argues that both of these translingual practices do not require “full or perfect competence” in the languages being mixed and that “these models of hybridity can be socially and rhetorically significant” (Canagarajah, Translingual Practice 10). However, the artist is clearly competent in both English and Afrikaans; in fact, he is also departing from the hegemonic speech varieties of English and Afrikaans in attempts to affirm black modes of speech, which have been negated during apartheid (cf. Haupt “Black Thing”).What the artist seems to be doing is closer to translanguaging, which Canagarajah defines as “the ability of multilingual speakers to shuttle between languages, treating the diverse languages that form their repertoire as an integrated system” (Canagarajah, “Codemeshing in Academic Writing” 401). The mix or blend of English and Afrikaans syntax become integrated, thereby performing the very point that Jansen makes about what he calls “the lie of purity” by asserting that the “mixture that mixed here is not fixed, sir” (Emile XY? “Mix en Meng It Op”). This approach is significant because Canagarajah points out that while research shows that translanguaging is “a naturally occurring phenomenon”, it “occurs surreptitiously behind the backs of the teachers in classes that proscribe language mixing” (Canagarajah, “Codemeshing in Academic Writing” 401). Jansen’s performance of translanguaging and challenge to notions of linguistic and racial purity should be read in relation to South Africa’s history of racial segregation during apartheid. Remixing Race/ism and Notions of PurityLegislated apartheid relied on biologically essentialist understandings of race as bounded and fixed and, hence, the categories black and white were treated as polar opposites with those classified as coloured being seen as racially mixed and, therefore, defiled – marked with the shame of miscegenation (Erasmus 16; Haupt, “Black Thing” 176-178). Apart from the negative political and economic consequences of being classified as either black or coloured by the apartheid state (Salo 363; McDonald 11), the internalisation of processes of racial interpellation was arguably damaging to the psyche of black subjects (in the broad inclusive sense) (cf. Fanon; Du Bois). The work of early hip-hop artists like Black Noise and Prophets of da City (POC) was therefore crucial to pointing to alternative modes of speech and self-conception for young people of colour – regardless of whether they self-identified as black or coloured. In the early 1990s, POC lead the way by embracing black modes of speech that employed codeswitching, code mixing and translanguaging as a precursor to the emergence of music genres, such as kwaito, which mixed urban black speech varieties with elements of house music and hip-hop. POC called their performances of Cape Flats speech varieties of English and Afrikaans gamtaal [gam language], which is an appropriation of the term gam, a reference to the curse of Ham and justifications for slavery (Adhikari 95; Haupt Stealing Empire 237). POC’s appropriation of the term gam in celebration of Cape Flats speech varieties challenge the shame attached to coloured identity and the linguistic practices of subjects classified as coloured. On a track called “Gamtaal” off Phunk Phlow, the crew samples an assortment of recordings from Cape Flats speech communities and capture ordinary people speaking in public and domestic spaces (Prophets of da City “Gamtaal”). In one audio snippet we hear an older woman saying apologetically, “Onse praatie suiwer Afrikaan nie. Onse praat kombius Afrikaans” (Prophets of da City “Gamtaal”).It is this shame for black modes of speech that POC challenges on this celebratory track and Jansen takes this further by both making an argument against notions of racial and linguistic purity and performing an example of translanguaging. This is important in light of research that suggests that dominant research on the creole history of Afrikaans – specifically, the Cape Muslim contribution to Afrikaans – has been overlooked (Davids 15). This oversight effectively amounted to cultural appropriation as the construction of Afrikaans as a ‘pure’ language with Dutch origins served the Afrikaner Nationalist project when the National Party came into power in 1948 and began to justify its plans to implement legislated apartheid. POC’s act of appropriating the denigrated term gamtaal in service of a Black Consciousness-inspired affirmation of colouredness, which they position as part of the black experience, thus points to alternative ways in which people of colour cand both express and define themselves in defiance of apartheid.Jansen’s work with the hip-hop theater project Afrikaaps reconceptualised gamtaal as Afrikaaps, a combination of the term Afrikaans and Kaaps. Kaaps means from the Cape – as in Cape Town (the city) or the Cape Flats, which is where many people classified as coloured were forcibly relocated under the Group Areas Act under apartheid (cf. McDonald; Salo; Alim and Haupt). Taking its cue from POC and Brasse vannie Kaap’s Mr FAT, who asserted that “gamtaal is legal” (Haupt, “Black Thing” 176), the Afrikaaps cast sang, “Afrikaaps is legal” (Afrikaaps). Conclusion: Agency and the Transportability of Mobile MatricesJansen pursues this line of thought by contending that the construction of Shaka Zulu’s kingdom involved mixing many tribes (Emile YX? “Mix en Meng It Op”), thereby alluding to arguments that narratives about Shaka Zulu were developed in service of Zulu nationalism to construct Zulu identity as bounded and fixed (Harries 105). Such constructions were essential to the apartheid state's justifications for establishing Bantustans, separate homelands established along the lines of clearly defined and differentiated ethnic identities (Harries 105). Writing about the use of myths and symbols during apartheid, Patrick Harries argues that in Kwazulu, “the governing Inkatha Freedom Party ... created a vivid and sophisticated vision of the Zulu past” (Harries 105). Likewise, Emile YX? contends that isiXhosa’s clicks come from the Khoi (Emile YX? “Mix en Meng It Op”; Afrikaaps). Hence, the idea of the Khoi San’s lineage and history as being separate from that of other African communities in Southern Africa is challenged. He thus challenges the idea of pure Zulu or Xhosa identities and drives the point home by sampling traditional Zulu music, as opposed to conventional hip-hop beats.Effectively, colonial strategies of tribalisation as a divide and rule strategy through the reification of linguistic and cultural practices are challenged, thereby reminding us of the “transportability of mobile matrices” and “fluidity of identities” (Alim 104, 105). In short, identities as well as cultural and linguistic practices were never bounded and static, but always-already hybrid, being constantly made and remade in a series of negotiations. This perspective is in line with research that demonstrates that race is socially and politically constructed and discredits biologically essentialist understandings of race (Yudell 13-14; Tattersall and De Salle 3). This is not to ignore the asymmetrical relations of power that enable cultural appropriation and racism (Hart 138), be it in the context of legislated apartheid, colonialism or in the age of corporate globalisation or Empire (cf. Haupt, Static; Hardt & Negri). But, even here, as Alim suggests, one should not underestimate the agency of subjects on the local level to produce alternative forms of expression and self-representation.ReferencesAdhikari, Mohamed. "The Sons of Ham: Slavery and the Making of Coloured Identity." South African Historical Journal 27.1 (1992): 95-112.Alim, H. Samy “Translocal Style Communities: Hip Hop Youth as Cultural Theorists of Style, Language and Globalization”. Pragmatics 19.1 (2009):103-127. Alim, H. Samy, and Adam Haupt. “Reviving Soul(s): Hip Hop as Culturally Sustaining Pedagogy in the U.S. & South Africa”. Culturally Sustaining Pedagogies: Teaching and Learning for Educational Justice. Ed. Django Paris and H. Samy Alim. New York: Teachers College Press, Columbia University, 2017 (forthcoming). Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Modernity. London: University of Minnesota Press, 1996.Canagarajah, Suresh. Translingual Practice: Global Englishes and Cosmopolitan Relations. London & New York: Routledge, 2013.Canagarajah, Suresh. “Codemeshing in Academic Writing: Identifying Teachable Strategies of Translanguaging”. The Modern Language Journal 95.3 (2011): 401-417.Creese, Angela, and Adrian Blackledge. “Translanguaging in the Bilingual Classroom: A Pedagogy for Learning and Teaching?” The Modern Language Journal 94.1 (2010): 103-115. Davids, Achmat. The Afrikaans of the Cape Muslims. Pretoria: Protea Book House, 2011.Du Bois, W.E.B. The Souls of Black Folk. Journal of Pan African Studies, 1963, 2009 (eBook).Erasmus, Zimitri. “Introduction.” Coloured by History, Shaped by Place. Ed. Zimitri Erasmus. Cape Town: Kwela Books & SA History Online, 2001.Fanon, Frantz. “The Fact of Blackness”. Black Skins, White Masks. London: Pluto Press: London, 1986. 48 Hours. “Black Noise to Perform at Kennedy Center in the USA”. 11 Mar. 2014. <http://48hours.co.za/2014/03/11/black-noise-to-perform-at-kennedy-center-in-the-usa/>. Haupt, Adam. Static: Race & Representation in Post-Apartheid Music, Media & Film. Cape Town: HSRC Press, 2012.———. Stealing Empire: P2P, Intellectual Property and Hip-Hop Subversion. Cape Town: HSRC Press, 2008. ———. “Black Thing: Hip-Hop Nationalism, ‘Race’ and Gender in Prophets of da City and Brasse vannie Kaap.” Coloured by History, Shaped by Place. Ed. Zimitri Erasmus. Cape Town: Kwela Books & SA History Online, 2001.Hardt, Michael and Antonio Negri. Empire. London & Cambridge, Massachusetts: Harvard University Press, 2000.Hart, J. “Translating and Resisting Empire: Cultural Appropriation and Postcolonial Studies”. Borrowed Power: Essays on Cultural Appropriation. Eds. B. Ziff and P.V. Roa. New Brunswick: Rutgers University Press, 1997.Harries, Patrick. “Imagery, Symbolism and Tradition in a South African Bantustan: Mangosuthu Buthelezi, Inkatha, and Zulu History”. History and Theory 32.4, Beiheft 32: History Making in Africa (1993): 105-125. Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1979.MacDonald, Michael. Why Race Matters in South Africa. University of Kwazulu-Natal Press: Scottsville, 2006.Salo, Elaine. “Negotiating Gender and Personhood in the New South Africa: Adolescent Women and Gangsters in Manenberg Township on the Cape Flats.” Journal of European Cultural Studies 6.3 (2003): 345–65.Tattersall, Ian, and Rob De Salle. Race? Debunking a Scientific Myth. College Station: Texas A&M University Press, 2011.TheatreAfrikaaps. Afrikaaps. The Glasshouse, 2011.FilmsValley, Dylan, dir. Afrikaaps. Plexus Films, 2010. MusicProphets of da City. “Gamtaal.” Phunk Phlow. South Africa: Ku Shu Shu, 1995.Prophets of da City. “Cape Crusader.” Ghetto Code. South Africa: Ku Shu Shu & Ghetto Ruff, 1997.YX?, Emile. “Mix En Meng It Op.” Take Our Power Back. Cape Town: Cape Flats Uprising Records, 2015.

Thesis (MA)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: This study explores a theoretical framework of language competence with reference to the teaching and learning of writing in Xhosa grade 12. The teaching of writing attempts to develop writing skills and to assist learners to see writing as a process involving various stages such as thinking, researching, planning, writing and re-writing. Furthermore, this study aims at demonstrating how to develop the learners to express themselves in a formally ordered way, as required in a given context for a specific purpose and audience. The study is strongly influenced by two approaches, one associated with the processes of writing, and the other called the genre approach, but the study also draws on a number of writing models. Examples of written essays by the learners of Xhosa in grade 12 are presented and analysed. This study examines four essays, each for which properties relating to the language competence component is analysed according to the questions posed by Grabe and Kaplan (1996). Writing is one of the most important communicative skills in life of the individual and it is an integral part of the school curriculum. This study concludes with some recommendations, which might help to solve certain problems relating to essay writing in the teaching of languages in Curriculum 2005 ..
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek 'n teoretiese raamwerk van taalvermoë met verwysing na die onderrig en aanleer van skryfvaardigheid in Xhosa vir graad 12 leerders. Die onderrig van skryfvaardigheid het as doelstelling die ontwikkeling van leerders se skryfvermoëns en die leiding van leerders om skryf te sien as 'n proses wat talle fases behels, soos nadenke, beplanning, navorsing, skryf en herskryf. Die studie poog voorts om aan te toon hoe leerders ontwikkel kan word om hulleself uit te druk in 'n formeelgevorderde wyse, soos vereis in 'n bepaalde konteks en vir 'n bepaalde gehoor. Die studie is sterk beïnvloed deur twee benaderings, een gekoppel aan die prosesse van skryf, en die ander, bekend as die genre-benadering, maar die studie betrek ook 'n aantal modelle van skryfvaardigheid. Voorbeelde van skriftelike stukke deur leerders van Xhosa eerste taal in graad 12 word ontleed. Die studie ondersoek vier opstelle, elke waarvoor eienskappe rakende die taalvaardigheidskomponent, ontleed word volgens vrae gestel deur Grabe en Kaplan (1996). Skryfvaardigheid is een van die belangrikste kommunikasievaardighede in die lewe van 'n individu, en dit vorm 'n integrale deel van die skoolkurrikulum. Die studie sluit af met 'n aantal aanbevelings wat 'n bydrae kan maak tot die oplos van bepaalde probleme rakende skryfwerk in taalonderrig in Kurrikulum 2005.

Thesis (DLitt (African Languages))--University of Stellenbosch, 2007.
This study aims to investigate properties of writing relating to genre-based literacy in isiXhosa as a first language (that is, as home language) for Grade eleven learners. The research investigates the problem of writing in isiXhosa at secondary school level, and the associated instruction, to grade eleven learners, whose first (home) language is isiXhosa. The educational context of these learners is such that the language of instruction in content subjects is English, which is as an additional language to these learners. Furthermore, they take English as a language subject. The learners’ home language is, however, only taught as a subject in this context. The language of instruction officially is English in all the content subjects, hence language proficiency problems in English are often encountered not only by the learners, but by educators as well. The genre-based theoretical framework and associated methodology is explored and employed in this study to establish the extent to which the isiXhosa first language learners are able to transfer the skills they have acquired in their first language, isiXhosa, to writing in the content subjects. Thus, the study has the following five main aims: (i) The study investigates the question of the extent to which high school learners can use their isiXhosa as their home language for the purpose of writing in their content subjects in a bilingual education system, where English as their second or additional language is the prescribed medium of instruction for content subjects; (ii) The study addresses the questions of how genre-based writing skills of learners with isiXhosa as home language are realized in their writing in the home language, isiXhosa as subject, assuming a genre-based approach to language learning and teaching; (iii) This study examines the writing of learners whose first (home) language is isiXhosa with regards to the extent to which they can transfer the genre-based writing skills they have acquired in writing in isiXhosa as language subject to writing in their content subjects; (iv) This study aims to determine the textlinguistic properties of writing in isiXhosa. Thus, the study will investigate genre-related concerns about the extent to which explicit genre-based instruction in isiXhosa will result in improving genre-based writing across the curriculum while enhancing the educational performance and achievement of learners; (v) This study explores the gap in knowledge and insights as regard the role of writing across the curriculum in isiXhosa as home language (first language), providing theoretically-motivated arguments for the importance of a strong focus on genre-pedagogy for African languages as language subjects, more generally.Therefore, this study aims to address the question of the role of writing in isiXhosa, as learners’ home language in a bilingual education in the learning and teaching context, a central point of concern in the South African education system. The methodology of this study entails the examination of three stages of the learners’ writing in isiXhosa, in both the biographical recount and the expository genres. The three stages are termed stage one, stage two and stage three, respectively, of the learners’ writing. For the purpose of data collection the writing in isiXhosa, two secondary schools in the Cape Peninsula, Bulumko Secondary School in Khayelitsha and Kayamandi Secondary School in Stellenbosch have been examined, focusing on the writing of the grade eleven learners. For all the three stages of writing in each secondary school a class of fourty grade 11 learners was instructed to write essays in isiXhosa on both the biographical recount genre and the expository genre. After the learners had written their essays the effectiveness of the essays was classified according to the levels of learners’ performance, for the purpose of analysis. In stage one, learners write the essay without being taught the genre-based properties of writing. In the stage two essay writing, the learners wrote the biographical recount and the expository essays after they have been taught the genre-based properties of writing. In the stage three essay writing, the learners applied the skills they have been taught in stage two regarding genre-based properties of writing. The teacher and learners brainstormed, discussed and exchanged views with each other on genre-based properties before the learners engaged in the writing in the third stage. As mentioned above, the stage one, two and three essays were categorised according to the learners’ performance, that is the good essays, the middle standard essays and the less or lower performance essays were classified for the purpose of the analysis. This study explores the genre-specific writing in isiXhosa by grade 11 learners with isiXhosa as first language, assuming as framework the genre properties by Feez and Joyce (1998), Grabe and Kaplan (1996), and Hyland (2005), the latter concerning metadiscourse. These models are discussed in chapter two and employed in chapter three for the analysis of both the biographical recount and the expository genres of grade eleven learners. Grabe and Kaplan’s (1996) linguistic and ethnographic construction of texts, the overall structure of texts and the generic move structures were examined in the content of the isiXhosa text. The parameters of the ethnography of writing, “Who writes what to whom, for what purpose, why, when, where and when and how?” posited by Grabe and Kaplan are also employed in this study in the analysis of the essays written in isiXhosa. In addition, the isiXhosa essays have been analysed with respect to Grabe and Kaplan’s (1996) components of information structuring under the writes parameter; topic sentence structure, topic continuity, topic structure analysis, topic-comment analysis, given-new relations, theme-rheme relations and focus-presupposition. In addition to the textlinguistic components of the write parameter, the writing in isiXhosa was analysed as regard the elements of text structure, which form part of the textuality and the structuralism of a text, as well as text cohesion, text coherence and the lexicon. In addition, the writing in isiXhosa was examined as regard Feez and Joyce’s (1998) overall design and language components of a biographical recount, including the three stages that reflect the rhetorical structure. The analysis of the isiXhosa essays has taken into account Hyland’s (2005) classification of metadiscourse according to two dimensions of interaction: the interactive dimension and the interactional dimension. The evaluative discussion invoked evidence from the analysis of the isiXhosa essays conducted in chapter three to demonstrate the view that, despite the variations in the three stages of both the learner’s expository and biographical recount essays, a steady progress and improvement from the stage 1 to the stage 2, and from the stage 2 to the stage 3 was evidenced. The findings of this study confirmed the effective realization and effective transfer of genre-based skills across the curriculum, in accordance with the objectives and aims stated for the study.

Thesis (MA)--University of Stellenbosch, 2005.
ENGLISH ABSTRACT: This study explores the defining characteristics of the genre-theory analytically for isiXhosa. The five chosen genre texts in isiXhosa, extracted from five Bona magazine, deal with social problems. Firstly the study investigates the theory of genre-based approach. The genre-based approach forms the framework for the analysis of the isiXhosa texts. The ethnography of writing posited in the theory of text construction of Grabe and Kaplan (1996) is explored. This theory is accepted as an underlying framework for teaching writing in isiXhosa in Curriculum 2005. The ethnography of writing entails addressing the following questions: who writes, what, to whom, for what purpose, why and how. Secondly, the write parameter, which is extensively examined, deals with the six learning outcomes such as listening, speaking, reading, writing, thinking and reasoning, language structure, in relation to the assessment standards, as a realisation of communicative purpose. The text-linguistic characteristics of the genre approach involving Grabe and Kaplan's model of writing are explored in the five isiXhosa magazine texts.
AFRIKAANSE OPSOMMING: Die studie ondersoek die onderskeidende kenmerke van die genre-teorie analities vir isiXhosa. Die vyf genre-tekste van die BONA tydskrif wat gekies word, handeloor sosiale probleme. Die studie ondersoek eerstens die teorie van die genre-gebaseerde benadering. Die genre-gebaseerde benadering vorm die raamwerk vir die analise van die isiXhosa tekste. Die etnografie van skryf soos gepostuleer in die teorie van tekskonstruksie van Grabe en Kaplan (1996) word ondersoek. Hierdie teorie word aanvaar as onderliggende raamwerk in die onderrig van skryfvaardighede in Kurrikulum 2005. Die etnografie van skryf, behels die ondersoek van die vrae: wie skryf wat aan wie, vir watter doel, wanneer, waarom, en hoe. Tweedens, die skryf parameter, wat uitgebreid ondersoek word met verwysing na die Xhosa tekste, hou ook verband met die leeruitkomste van luister, lees, praat, denkvaardighede en taalstruktuur, met betrekking tot die assesseringsstandaarde, as 'n realisering van kommunikatiewe doelstelling. Die tekslinguisitiese eienskappe word ondersoek soos gepostuleer deur Grabe en Kaplan t.o.v. die vyf Xhosa tydskrifartikels.
ISICATSHULWA Lo msebenzi uphonononga ukwakhiwa kwe thiyori yegenre ngokuhlalutyiweyo. Itekisi zegenre ezintlanu zijonga iingxaki zasekuhlaleni yaye zicatshulwe kumabali amahlanu encwadi ekuthiwa yiBona. Okokuqala lo msebenzi uphanda ithiyori ebanzi ngendlela ethi igenre ijongwe ngayo. Le yimvelaphi yohlobo Iwetekisi yolwimi IwesiXhosa. Indlela yokubhala amagama ivela kwithiyori ka Grabe no Kaplan (1996). Le thiyori yamkelekile njengesiseko sokufundisa ukubhala. Iquka indlela yokubhala enale mibuzo: ngubani obhalayo, ebhala ntoni, ebhalela bani, siyintoni isizathu, ngoba kutheni, ebhala njani. Imigaqo okanye imimiselo yokubhala iyavavanywa yaye iza kujongana neziphumo zokufunda ezithandathu ezizezi: ukumamela, ukuthetha, ukufunda nokubona, ukubhala, ukucinga nokuqiqa, ukwakhiwa kolwimi nokusetyenziswa, nendlela yokuhlola njengenjongo yokudlulisa umba lowo. Ezi mpawu zolwimi Iwetekisi yokusetyenziswa kwegenre zizakujongwa banzi kusetyenziswa Ie ndlela yokubhala ka Grabe no Kaplan. Iziphumo zemfundo eyile: ukufunda nokubona, ukubhala, ukucinga nokuqiqa ziza kunikwa uqwalaselo olulodwa. Okokugqibela abafundi bebanga lesixhenxe baza kuba nakho ukukubona ukuvisisana nokudibana kokubhala ukucinga ukuqiqa kunye nemiqathango yokuhlolwa.

This study uses close linguistic analysis to investigate how a group of Xhosa English Second Language (XESL) Speakers use repetition as a discourse strategy in their written academic work. The study analyses the nature of their repetition and draws on critical theory to situate repetition in its socio-cultural context.

The question as to which language should be used as a medium of instruction in schools in multilingual societies is a controversial one. In South Africa, the question is often posed in binary terms: Should the medium of instruction be a familiar local language such as Xhosa or a language of wider communication like English? This study is an attempt to answer the above question. The study profiled the writing abilities of Grade 4 and Grade 7 pupils at Themba Primary, a school located in Khayelitsha in the Western Cape, in both their mother tongue, Xhosa, and in English, their official medium of instruction at school since Grade 4. Three written tasks, which consisted of a narrative piece of writing, a reading comprehension exercise, and an expository piece of writing, were administered to the pupils in English and Xhosa. The purpose of the exercise was to examine some of the implications for educational language policy of the differences in performance in the two languages. All the tasks were authentic, in that they were based on aspects of the pupils&rsquo
curriculum and written in the formal academic language pupils were expected to be exposed to in their respective grades. All the tasks were graded systematically under controlled conditions.

This research aims to contribute to the improvement of writing in English as a second language in South African schools. It is based on transfer theory: what is known in one language may transfer to another. Much of the transfer of structural aspects of languages as different as Xhosa and English is likely to be negative. This research focuses instead on aspects of writing at discourse level in the expectation that a positive transfer of learning will take place at that level. The main hypothesis is that certain discourse level writing skills transfer to a second language (English) if they have been taught in the mother tongue (Xhosa) but not in the second language. The skills in question are • using topic sentences appropriately to introduce a paragraph • writing suitable support sentences in the rest of the paragraph • achieving paragraph unity in relation to the topic sentence • using linking words and other cohesive devices effectively. The writing corpus was obtained from 66 Grade 8 learners in the researcher’s school. Thirty three of the learners were in the Experimental Group in 2005 and 33 different learners were in the Control Group in 2006. The difference between the groups was that the Experimental group were taught the writing skills in Xhosa but not in English, whereas the Control group were taught the same skills in both subjects. Both groups were taught Xhosa and English by the researcher himself. The corpus comprises a total of just under 80 000 words of composition writing, half of which was written at the beginning of the academic year and the other half at the end. Comparisons were made to determine how much learning had taken place individually and by the different groups and subjected to statistical analysis to measure significance. The findings provide persuasive evidence of a transfer of learning. The impressive amount of learning that occurred in the first place was also rewarding, providing proof, as it did, that learners are capable of responding to greater demands than we might assume.
African Languages
M. A. (Teaching English to Speakers of Other Languages)