A linguistic description of language varieties in Venda

Bibliography: leaves 232-239This thesis investigates the various language varieties of Venda. In traditional descriptions, researchers were mainly concerned with linguistic differences which characterised the socalled Venda 'dialects'. These are spoken forms which are mutually intelligible to one another and which occur within identifiable regional boundaries. Each of these forms in turn, is mutually intelligible to the so-called standard form, commonly known as Tshiphani. Various factors contributed to the evolvement of · the Venda dialects and, as this study shows, in some cases these factors are historical in nature and in others, they are determined by adjacent ethnic groups of people. The linguistic differences which characterise each of these dialects are identified and discussed. It is then argued that the term 'dialect' is far too restricted to account for the various spoken forms which characterise the Venda language, and the term 'language variety' is introduced to deal with the shortcomings of the traditional approach to language differences. The nature of different spoken forms is then discussed within the ambit of the definition of 'language varieties'. This is a term used in general linguistic studies and accounts for the many different forms that may characterise a language.+ To this end, a detailed discussion is presented of the social rural and urban varieties which are found in Venda. Some of these varieties are secretive in nature, and are not generally known to the general public. They include language varieties which characterise various institutions such as murundu, vhutuka, musevhetho, vhusha, thondo and domba . Then there are those varieties which are referred to as 'open' rural varieties which are not, generally speaking secretive in nature, for example those which characterise traditional religious beliefs, taboo forms, and those referred to as musanda and malombo. Finally, reference is made to the language varieties which permeate urban as well as rural areas, including those of divination, the church, tsotsitaal, gender, a variety which is referred to as the the linguistic restriction variety and finally the varieties used in the courtroom as well as that used by politicians.African LanguagesD. Litt. et Phil. (African Languages

A descriptive analysis of the morphology of the Tshiguvhu dialect of Venda

In this study an attempt is made to describe the morphological apects of Tshiguvhu. In chapter 1, it is indicated that historically, there was extensive early contact between Vhaguvhu and Balobedu and Tlokwa. In ,chapters 2 and 3, nouns and pronouns are analysed morphologically. Some similarities and differences between Tshiguvhu and Tshivenda are highlighted. These differences are ascribed to influences from Lobedu and Tlokwa. In chapters 4 and 5, the form of the verb and the use of verb forms in various tenses, where applicable, are described morphologically. Some verb roots and extensions have been influenced by Northern Sotho dialects whereas some have not. In chapter 6, the morphology of adverbs, interrogatives, conjunctions, ideophones and interjections are briefly described. In conclusion, it is indicated that Tshiguvhu is a dialect of Venda because of its cultural and historical bonds with Venda, although linguistically it shares some features with certain Northern Sotho dialects.African LanguagesM.A. (African Languages

The role of music and language in reflecting beliefs in fertility and marriage

Music, like language, can be used to transmit beliefs, values and worldviews. Since indigenous music, like any piece of art, is not composed in a vacuum, it reflects the moral and social values through which it is conceived. One of the areas in which it plays an important role is marriage. Traditional marriage unifies families in communities, its primary function being to produce children as new members of the community. In fulfilling this aim, culture, including music, has a significant part to play in encouraging marriages between members of communities. This article interrogates African cultural values and norms as presented in two songs, namely Tlhatswa lesire (‘Wash your wedding gown’) by Culture Spear and U swi tiva kanjani? (‘How do you know?’) by General Muzka. In Tlhatswa lesire, the lead vocalist uses this idiomatic expression to put forward a request by members of the community ‘to bear a child for the family’. In the track U swi tiva kanjani?, General Muzka uses the noun ripfani  ‘chameleon’ because the wife does not want to accept that she is sterile. Infertility or the failure to bear a child constitutes not only a personal crisis for a woman, but a tragedy, as she is made to feel that she has disappointed her entire community. Her sense of failure is aptly expressed through  the medium of song

Cross-border language varieties: The case of Tshilembethu and Lembethu/Chilembethu and their relationship with Tshivenḓa

This article investigates the relationship between the use of Tshilembethu in  South Africa and Lembethu in Zimbabwe. As cross-border language varieties, Tshilembethu and Lembethu (also known as Chilembethu in Zimbabwe) share features in terms of phonology, morphology and syntax. In view of this fact, this article focuses on the relationship between Tshilembethu and Lembethu/Chilembethu and also considers whether Tshilembethu is a  variety of Tshivenḓa. It highlights the historical, geographical and linguistic  features that bring about the phonological, morphological, syntactical and lexical changes that occur as people move across borders.Southern African Linguistics and Applied Language Studies 2011, 29(4): 435–44