From an intertextual perspective, this study analyzes the lithoko, religious beliefs and practices and Western poetry confluences in modern Sesotho poetry. Of utmost importance in the analysis are the intertextual manifestations in modern Sesotho poetry.
Purpose and Value of the Study
The study also critically examines the identified poetic features that manifest as intertexts in modern Sesotho poetry. It also evaluates the literary or poetic nature of modern Sesotho poetry for its parasitic status.
Scope of the Study
Historical Development of Sesotho Poetry
- Modern from Various Perspectives
- Modern Sesotho Poetry
7| P a g e Of the two scholars, Khaketla focuses on the poetic aspect of Sesotho poetry on the one hand. Sesotho poetry also has the characteristics of the literary works described above as modern.
Lithoko Versus Praise Poetry
- Thoko / Lithoko Defined
- Classification of Lithoko
- Functions of Lithoko
- Poetic Aspects Questioned
This perception therefore suppresses lithoko and excludes some of the existing species of lithoko or izbongo. Considering some functions of lithoko in the context of praise poetry, its name.
Literature Review
- Studies on Modern Sesotho Poetry
- Studies on Poetry in Other African Languages
This part of Kunene's study will provide valuable conceptual understanding of the use of eulogy, the principle of paragraph and parallelism in modern Sesotho poetry as poetic features identifiable as manifestations of the borrowing from lithoko to the former. These exceptional areas will inform the discussion of the role of host that Christianity plays in modern Sesotho poetry.
Summary
Although Musehane argues that the poet's Christian orientation in his poetic themes deviates from the Christian intertexts analyzed in this study, both studies share Christianity as a common denominator. This will further inform this study of matters relating to the use of Christian religious language and the manifestation of its intertextual relationship with contemporary Sesotho poetry.
- Introduction
- Intertextuality as a Literary Device
- Host Versus Parasite
- Levels / Types of Intertextuality
- Intertextual Reading / Interpreting
- Preference of Intertextuality to Influence
- Research Methodology
- Research Design
- Method of Data Collection
- Sampling
- Method of Data Analysis
- Evaluation of MSP’s Literariness / Poeticness
- Summary
Citation or intertexts are characterized as (1) intertextual repetition, production of a pretext, for example, lithoko subject in a subsequent or quotation text (MSP), (2) segmental character, which is not a pretext in its entirety, but part of it, (3) quotation representing a derivative text segment and (4) removable extraneous elements of the text. The second part is the poetic samples contained in the selected poems, as manifestations of intertextuality. The study also looks at the new trends manifested in contemporary Sesotho poetry as a result of the identified intertexts.
One of the research questions to which this study responds relates to the literariness or poetics of modern Sesotho poetry. Therefore, modern Sesotho poetry is evaluated for its poetry and to determine how alienated or familiar it is because of the otherness within it.
Introduction
- Form in Modern Sesotho Poetry
- Structure in Modern Sesotho Poetry
Defining the concept "structure" Lenake describes it as "the internal organization, the composition of the poem". On the other hand, tone, intent, mood and feeling, even rhyme, also form what is referred to as the audible structure of the poem or any literary work of art. Therefore, considering the multiple meanings attached to these two concepts, this study applies a neutral approach in the use of the concepts in the analysis of modern Sesotho poetry.
Similarly, considering the use and development of the oral-formal theory in the Poetic Edda, Ferioli (2010:1) cites the context of lack of knowledge of reading and writing as the natural environment in which a particular technique applied of the. Thus the lines of the text are said to be divided on the basis of breathing groups”; the principle which.
Lithoko Forms and Structures in MSP
- Proto Forms
- Open Forms
- Summary
The Longman Dictionary of Contemporary English New Edition defines a prototype as “the first form of something. As intertexts, these poems are at level five of the six-level scale of intertextual analysis, where, according to Bazerman (2005:3), they have made use of 'the easily identifiable linguistic registers and genres [in this case lithoko] that can be used '. associated with a particular social world” – protoforms. They both, especially the first, fall into what Finnegan categorizes as paean: “the type for court poetry.”
In the extract above there is vertical repetition of "oa", which is the matching of the theme for the praise of Molapo, Mokutu "Agitator". These names are, among other things, for people, places, weapons used and battlefields, and even historical references; and as Tšiu points out, "..the heroic deeds of chiefs or warriors in the wars or battles in which they took part," as well as the causes for those battles or wars.
Eulogues in Modern Sesotho Poetry Texts
- Naming Eulogues in Modern Sesotho Poetry
- Deverbative eulogues in modern poetry
- Metaphorical eulogues
- Regimental names in modern Sesotho Poetry
- Descriptive eulogues in modern Sesotho poetry
- Clan names in modern Sesotho poetry
- Eulogues of Associative Reference
- Association with relatives
- Association with peers
- Association by Genealogical reference
- Traditional Imagery in MSP
The comparison is probably centered on the luster and the swift gliding motion of the swallow, characteristics observed in the car. One of the practices among the Basutos of the past was to give each regiment a name. On the other hand, the pericardium is described as "the fluid that surrounds the heart and the proximal end of the aorta, vena cava and the pulmonary artery".
These references can also be seen as a genealogical history of the hero or heroine in question. The following examples illustrate how MSP reflects lithoko in terms of its use of imagery.
Summary
The examples of imagery are not direct liftings from lithoko, but are textual prototypes that manifest another way in which MSP as a new text that comes into being relates to the previous text, lithoko, and in turn the position of the forerunner of the subsequent texts (Heinrich, 1991: 17 citing Grivel, 1978). The identified lithoko names and the oral formula segments were considered in terms of the historical figures, events or occasions to which they indirectly refer. 147 | On the other hand, the chapter identified and discussed images that are culturally based as part of the cultural corpus in MSP.
Overall, the chapter has dealt with three intertextual aspects from litoko to modern Sesotho poetry under sections one to two. Therefore, based on the analysis of these parts and the findings summarized at the end of these parts, the study affirms that MSP as a literary and artistic work and as Haberer notes with works of art, is inspired by "The Other", lithoko in these aspects discussed above above.
Introduction
So far, no one considers traditional beliefs and practices as an influence or literary host for African poetry. On the contrary, I believe that African poetry, particularly modern Sesotho poetry, not only obtained material from the newly acquired religion, Christianity, but also drew heavily from the traditional beliefs and practices that existed long before Basotho converted. Christianity. It is this dual host scenario that this chapter interrogates as an intertextual relationship between modern Sesotho poetry and Christianity and traditional cultures.
The chapter identifies poetic features which are characteristics of Christianity, traditional beliefs and practices beginning with the former.
Biblical Intertexts
- Creation
- War in Heaven and the Defeat of the Dragon
- The Devil and the Tree of Knowledge or Death
- Human Disobedience
- God’s Visit to Eden and the Punishment
- The Concept of Two Ways
- Christian and Biblical Names
- Associative Biblical References
In other words, the quoted text did not rely on the entire biblical material about creation as it appears in the source text, but made biblical references that evoke some verses about the creation of the universe. Stanzas 3–5 recount the defeat of the devil and his angels which is a biblical reference to Revelation 12:7 where it says "...but He was defeated, and there was no more place for them in heaven." The poem introduces the subsequent narrative of the defeat that comes through the call of the devil who appears to be the commander of his forces calling his angels to retreat. The origin and fall of man is biblically traced back to the eating of the forbidden fruit from the tree of knowledge by Adam and Eve.
In the Bible, this event that culminates in the announcement of man's punishment is shown in Genesis 3:8-13. However, the implied intention of the poem, which is to portray in no uncertain terms, the power of love and the extent to which human actions can go in the name of love, is achieved.
Traditional Sotho intertexts in MSP
- Rites of Passage and Other Rituals
- Traditional Marriage
- Burial Rites
- Traditional Beliefs and Practices
- Ancestral Belief
- Witchcraft and Traditional Medicine
- Miscellaneous Beliefs and Practices
Among other things, the song refers to the following aspects of the traditional Soto wedding: lobola or bohali, the main character and value of cattle in the lobola offering. First, the song refers to bohali24 and recognizes it as a major component of a Sesotho traditional wedding. This status of bohali/lobola in traditional Sotho marriage is communicated through the poetic dramatization of two opposing views juxtaposed in the poem.
The line evokes other proverbs that show how close death is in the understanding and perception of the Basotho. Each litsoejane must parade with a gall gland from the sheep/goat slaughtered for her.
Summary
- Introduction
- Rhyme and Rhyme Patterns
- Modern Sesotho Poetry and Rhyme
- Sonnets
- The Italian / Petrarchan sonnet
- The English / Shakespearean sonnet
- Indefinable sonnets
- Form
- Subject
- Movement
- Mode
- Sonnets in Modern Sesotho Poetry
- Sesotho Sonnets versus Italian and English sonnet Forms
- Patterning or Shaped Poems
- Summary
This has become one of the manifestations of modern poetry, as Abrams (ibid) argues that many modern poets deliberately supplement perfect rhyme with imperfect rhyme (also known as partial rhyme or otherwise "near rhyme", "slant rhyme" or " pararhyme" ). In his consideration of rhyme as a unique characteristic feature of the Northern Sotho sonnet, Swanepoel notes that, as far as African languages are concerned, rhyme is not only a new phenomenon in African poetry, but is also mainly confined to "the written or so-called ' modern' poetry." To this Lenake adds that "In African languages with their different syllabic structure, consisting mainly of a consonant-vowel combination, the rhyming possibilities are more limited than in a language like English." According to Swanepoel, a number of poets have therefore shown effective implementation of rhyme as a technical means of verse in the Northern Sotho sonnet. Now this brings us to the question of how modern Sesotho poetry as an example of open form poetry borrows from and imitates English poetry and employs rhyme as an intertextual poetic sound device.
That it is not so compatible with the Sesotho language and therefore also not as common as it is with and in English poetry. It is this linguistic inconsistency that limits the possibilities for rhyme to a certain degree as against.
Introduction
Emerging Poetic Forms and Structural Trends in Modern Sesotho Poetry 208
Literariness of Modern Sesotho Poetry
The future of Modern Sesotho Poetry
Possible areas for Future Research
Challenges Encountered
Conclusion
Recommendations
- Recommendations for Poets
- Recommendations for the Academia
