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dc.contributor.advisorGildenhuys, J. G.
dc.contributor.advisorMuller, F. R.
dc.contributor.authorEmslie, Clarence Field
dc.date.accessioned2017-01-27T05:59:58Z
dc.date.available2017-01-27T05:59:58Z
dc.date.issued1982-05
dc.identifier.urihttp://hdl.handle.net/11660/5438
dc.description.abstractChapter one deals with the structure of drama in general: the introduction, the beginning, the expositon, the theme, the complication, the development, the crisis, the climax and the dénouement. The action-complexes and their function in both Jaa ... , .and Molomo ..., are discussed in detail. Examples from the two dramas under discussion are then quoted and as far as is possible it is shown how the two dramas employ a general structure. Chapter two on characterization discusses different methods a playwright employs to portray his characters to the audience like characterization by appearance, characterization through other characters, characterization through praise-poems, characterization by the playwright and characterization by action. A character-analysis of all the characters in the two dramas under discussion concludes this chapter. Chapter three is an in-depth discussion on all aspects of dialogue used in these dramas. Matters such as functions of dialogue, indirect and dramatic dialogue, the aside, the soliloquy, Moiloa's style, irony, humour, puns, vulgar language, religious tones, praise-poems, figures o£ speech, the use of other languages English, Afrikaans and Fanagalo in Moiloa's dramas are discussed. The function of the many idioms and proverbs used in Moiloa's dramas is also discussed. Chapter four is a discussion of extrinsic conventions which include: what holds an audience's attention in a drama and how Moiloa has attempted to hold his audience's attention in both Jaa o siele motswalle and Molomo wa badimo. What appeals to an audience is also discussed. A lengthy part of the chapter is taken up by para-textual infuences on a drama. with regard to the two dramas in question, the following para-textual influences receive attention: working on the mines, Bantu marriage customs, the abduction of a bride, child discipline, medicinal practice and beliefs, the witchdoctor, the initiation "schools", the ancestors, the spirits of the dead, the wedding in traditional style. Two minor para-textual influences discussed are that of spitting and the surname a girl takes when getting married. The researcher has come to the conclusion that the two dramas can be classed as relatively successful Sesotho dramas.en_ZA
dc.language.isoenen_ZA
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectThesis (D.Litt. (African Languages))--University of the Orange Free State, 1982en_ZA
dc.subjectMoiloa, J. J. -- Criticism and interpretationen_ZA
dc.subjectDramatists, Sotho (African people)en_ZA
dc.titleJ. J. Moiloa - the dramatisten_ZA
dc.typeDissertationen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


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