In this thesis, the research focused on the representation of women's images in the selected isiZulu literary texts. The study concluded that gender inequality is still prevalent in the portrayal of women images in selected isiZulu literary texts written by men.
INTRODUCTION
- Introductory Background
- Aims and Objectives of the Study
- Reasons for Undertaking the Study
- Personal reasons for the study
- Academic Reasons for the Study
- Research Problems and Key Questions to be Asked
- Unpacking Crucial Concepts in the Title and their Delimitational Use
- African Male Voices
- Representation
- Women Images
- Literary Texts
- Reality or Idealism
- Scope of the Present Study
- Structure of the Thesis
- Conclusion
These are some of the questions the study intends to investigate in the selected works. Imagery of women refers to the character representation and/or portrayal of women in the literary texts.
LITERATURE REVIEW
Introduction
The context of the drama and the period allowed things that are in the content of this play. Despite the small role she plays in the entire narrative, she is also portrayed negatively.
Literature Review of Related Literaty Works by African Male Authors in the
- Chinua Achebe: Things Fall Apart (1958)
- Emelda Damane: Hawu Ndlalifa! (1997)
- Representation of Women Images in Literature Written by Black Females
Literature Review of Related Literary Studies Which Resulted in Completion of
Gumede (2002) examines the portrayal of female characters in selected Zulu texts to determine whether the female characters are portrayed in a positive or negative light. A comparative study by Mdletshe (2011) addresses the question of how male and female authors portray female characters. In her study, a female researcher, Masuku (1997), examines the portrayal of female characters in selected isiXhosa drama.
Mathye (2003) conducts a study of a selected number of Tsonga novels in which the portrayal of female characters against the background of patriarchal values is made. Female writers reflect this attitude by often creating female characters who undermine patriarchy by opposing traditional values. The analysis also reveals the underlying male bias in the way female characters are illustrated in a stereotypical way and depicted as gold diggers, treacherous, greedy, thugs, prostitutes, passive, addicts and traitors in the selected novels by both men and women. authors.
As far as novelists are concerned, their portrayal of female characters is much more balanced, as both negative and positive qualities are evident in the presentation of female characters (Machaba.
Conclusion
PARADIGMATIC AND THEORETICAL ORIENTATION OF THE
- Introduction
- What is Feminism?
- Liberal Feminism
- Marxist Feminism
- Radical Feminism
- African Feminism
- Feminist Literary Criticism
- Literary Feminist Philosophy Preferred in this Study
- Conclusion
Engels (cited in Smith, 2013:2) further argued that “the embodiment of the monogamous family in class society is based on double standards. Feminist literary criticism became a virtual concern with the dawn of the new women's movement—a shift away from an almost exclusive focus on the issue of women's suffrage—that began in the early 1960s. In her book Sexual Politics (1969), Millet highlighted the negative images of women as passive sexual objects in contemporary fiction of that time.
Elleman's somewhat humorous treatment of stereotypes of women in literature written by men places Elleman among the pioneers in the development of modern feminist criticism. In her analysis of the historical development of women's writing, Showalter presents three important phases. Women thus had to adapt to male standards of images of femininity in their own writing.
She goes on to argue that “one of the earliest forms of feminist criticism focused on so-called 'images of women'.
RESEARCH DESIGN AND METHODOLOGY
- Introduction
- Research methodology
- Research design
- Research approach
- Data gathering instrument
- Data presentation
- Data analysis and interpretation
- Reliability and validity
- Conclusion
Clandinin and Connelly in Moen (2006: 6) maintain that "the narrative approach is a frame of reference that offers the researcher a platform to reflect on during the investigation process. The Concise Oxford English Dictionary defines mimesis as "the imitative representation of the real world in art or literature" (Soanes and Stevenson, 2004:907). In this study, qualitative data is collected to examine the representation of female images by male authors in the selected Zulu literary texts.
Sebunje (2015) agrees with Clow and Stevens (2009) that “the aim is to find patterns, ideas or hypotheses, not to test or confirm a hypothesis. Therefore, he argues that “a stereotype is an overgeneralization of characteristics that may or may not have been observed. In Zuma (2009:61), Nayar argues that “the stereotype maintains sharp boundaries and also translates the “other” into a set of static attributes.
Most texts present women as 'the other "and in turn predict/expect this to be a universal belief".
ANALYSIS OF SELECTED TEXTS
Introduction
Language is one of the means used to convey knowledge and as such can be biased”. This study examines the author's social membership in relation to the way in which female characters are represented. This study particularly examines the representation of women as it is underpinned by forces of oppression, male dominance and power and challenges such practices as being patriarchal.
In the following section is a summary of each of the selected texts as that exercise provides a starting point for this discussion. This is followed by the analysis of the text in accordance with the categories mentioned in the methodology chapter where the following characteristics were identified: gender inequality, gender stereotypes, the portrayal of images of women and an assessment of the representation of images of women. Taking the matter further, Lefevere and Bassnett state that the socio-cultural context in which translations take place must be taken into account at all times when translating.
These scholars argue that translations never occur in a vacuum, but are part of a larger system and therefore need to be described in terms of the target system (Shuping, 2013:57).
Synopsis of the novel Uvalo Lwezinhlonzi (Ngubane, 1975)
- Gender Inequality
- Gender stereotypes
- Portrayal of Women Images in Uvalo Lwezinhlonzi
- Evaluation
- Conclusion
Therefore, even in matters of the heart, she must put her father's wishes first (Zondi, 2013). She is at the heart of the conflict that exists between her husband, Masovenyeza and her brother, Zulumacansi. However, she does not dare to express that point of view, as she is aware of the consequences of doing so.
Instead of being part of the discussion, they are busy in the kitchen preparing the meals to be served to the men. Robbins believes that "criticism of stereotypes must take place in a certain context". In Zulu culture, it is common practice for a woman to be known as the mother of her first-born child, regardless of the child's gender.
Bongani is depicted as one of the objects her father sold to the highest bidder to enrich himself with ilobolo cows.
Synopsis of the drama, Ngiwafunge amaBomvu (Molefe, 1991)
- Gender Inequalities
- Gender Stereotypes
- Portrayal of Women Images in Ngiwafunge amaBomvu
- Evaluation
- Conclusion
She was already in love with Zaba, the son of the chief's induna, when she was chosen by the king. Unaware that one of his queens is in love with Zaba, the king appoints him a member of the royal intelligence service. Rather, it is the king and his induna who are seen at the forefront of this scene.
It is true that according to Zulu culture at that time, the king's word was final. In the above context, these girls are marriageable and married to the king. The king is not your boyfriend; he is the king of the nation who expects you to produce an heir for him.
She is helpless when her son does not listen to her in the case of the release of the king's messenger whom he held hostage.
Synopsis of the drama, Ababulali Benyathi (Mngadi, 2008)
- Gender Inequalities
- Gender Stereotypes
- Portrayal of women images
- Evaluation
- Conclusion
Their recommendations that the two men cooperate fall on deaf ears, as neither man wants to take the blame for what is happening in the area. While the chief values his wife's views when they are on their own, he does not want her around in the presence of outsiders. Both women in the piece explored are heroines; the boss acknowledges that in the end, where he admits in his letter to the community that they have been instrumental in the reconciliation of the two factions.
MaShezi is portrayed as an educated Zulu woman who grew up in KwaMashu township. She is vocal in her support for the new era democratic structures in South Africa and sits down with the men, Duma and Mbandlwa to discuss critical socio-political issues in the community. In this drama, the author portrays two women as stabilizing forces in the efforts to build the nation".
The period of its publication is marked by transformation in the country's governmental structures, including the revival of the African spirit of Ubuntu.
Synopsis of the drama, Kudela Owaziyo (Maphumulo, 2009)
- Gender Inequalities
- Gender stereotypes
- Portrayal of women images
- Evaluation
- Conclusion
He is imprisoned for physically abusing his wife and daughter; but MaMdaluli withdraws the charges against her husband. Therefore, MaMlanduli is right when she describes her husband's dismissal as a doom for the whole family. Stratton's idea is supported by Tembo when he states that “the girl child in patriarchal societies is shaped to become a dutiful mother under her mother's training and uncompromising guidance.
The author depicts MaMlanduli as a foolish character who gracefully accepts physical abuse from her husband because she is a traditional uneducated country woman and therefore does not understand her rights. MaMlanduli is portrayed as a very subservient person who is willing to do whatever her husband wants. Dill admits that “the concept of sisterhood has been an important unifying force in contemporary women's movements.
But in this drama, the opposite happens in MaMlanduli's response to her husband after chasing his daughters away, who wants to know where they have gone.
TRANSFORMATION OF THE AFRICAN MALE WRITERS
- Introduction
- Chinua Achebe
- Things Fall Apart (1958)
- Anthills of the Savannah (1987)
- Tranformation in the representation of women images by Chinua Achebe
- Ngugi wa Thiong’O
- A Grain of Wheat (1967)
- Devil on the Cross (1982)
- Transformation in the representation of women images by Ngugi wa
- B. P. Maphumulo
- Kudela Owaziyo (2008)
- Ngifuneni Emlotheni (2015)
- Transformation in representation of women images by B.P. Maphumulo176
- Isitolo Esasingasebhange (1988)
- Ngiwafunge Amabomvu (1991)
- Transformation in representation of women images by L. Molefe
- Conclusion
They call themselves the “Kenya Land and Freedom Army” and have fortified themselves through the practice of vows known as “the Oath” (Ongaro, 2004:63). Because of her brother's activism in politics, Mumba also finds herself involved in the politics of the day. Wariinga is also a victim of her culture, which has indoctrinated her into believing that she is worthless as a woman.
She becomes a representative of working class women in their tireless search for recognition in society. The short summary of the drama is as follows: The drama takes place in the rural district of Eshowe. There is clearly no noticeable change in the representation of women in both plays written by Maphumulo.
Its location is in the rural areas of KwaZulu Natal under the king of the Ngubane tribe.
CONCLUSION
- Introduction
- General Observation
- Specific Observation
- Recommendations
The lives of the majority of women, especially in the rural areas in South Africa, have not changed. It is clear that more women than men, in the selected isiZulu literary texts, were represented as inferior people. The 'new woman' then began to claim a share in the struggle, the responsibilities and the honor of the world, in which she had been an insignificant person until then".
Women must refrain from seeing themselves as victims of the patriarchal and apartheid system in the case of South Africans. It therefore seems that negative representation of women's images cuts across different African languages available in the country. The African male writers must consciously make radical changes in the way they represent women of the 21st century.
Portrayal of femininity in Achebe's Things Fall Apart and Ezeigbo's The Last Strong Ones. ed) Achebe's Women: Imagism and Power.
