Applying critical theory in the examination of one selected isiXhosa short story

Abstract

A notable framed literature review accentuates that there is a deficit in the scholarly examination of isiXhosa short stories. Such dearth can be pinned on the agnostic inclination in respect of South African literary criticism – isiXhosa literature included. The fundamental aim of this article is to make a systemic and meticulous examination of one selected isiXhosa short story hinging on dominant patterns such as negative peer pressure and poor parental guidance, among other distinguishable matters. Critical theory is used as a foundational base structure alongside qualitative research methodology for a continued and maintained reading of the short story in a bid to develop a noticeable pattern that will contest the conundrum. The results underline that young people and parents as well as the general society have a solitary responsibility to operate in a synergetic relationship to address some of the problems that continue to sabotage the future of many young men and women. The closing remarks suggest that more scholarly discourse in respect of isiXhosa short stories ought to be advanced. The article makes a notable contribution in that it catalyzes the theoretical and intellectual development of the isiXhosa language and literature.

An examination of the educational and instructional facets in isiXhosa children’s oral songs

“…The reason to appoint these children's oral songs is that they form part of oral or traditional literature, and therefore, their function and significance rest on their ability to play a didactic and pedagogical influence. In fact, Diko (2023bDiko ( , 2023cDiko ( & 2023d refers to this technique to research as a qualitative research methodology that appreciates and recognizes oral or traditional literature as a primary source of data. Similarly, Olmos-Vega et al (2023) proclaim that qualitative research methodology can be used to evaluate oral literature by examining literary works in-depth and interpreting them through various lenses such as historical, cultural, and social perspectives.…”

“…In spite of their significance in amaXhosa culture, the didactic and pedagogical facets of amaXhosa oral children's songs have received limited scholarly deliberation. Essentially, the South African government has been animately promoting the preservation and promotion of indigenous cultural heritage, including traditional songs and music (Diko, 2023b). In 2019, the South African government launched the Living Legends Legacy Programme (LLLP), which aims to celebrate and honor individuals who have made significant contributions to the country's cultural heritage, including music and songs (Diko, 2023b, p. 213).…”

“…Songs can be located in a wide variety of musical genres, from folk and pop to classical and hip-hop, and can be performed by solo artists, groups, or choirs (Nwosu et al, 2021). In addition to lyrics and melody, songs often include other musical components such as harmony, rhythm, and instrumentation (Diko, 2023b). The lyrics of a song can be sung in a particular language or dialect and may contain poetic or metaphorical language.…”

Probing the Structuralist Analysis of a Selected isiXhosa Short Story, ‘Ukuzibulala Akusiso Isisombululo’ (Suicide Is Not the Solution), as a Literary Work

“…In terms of structure and style, isiXhosa short stories often incorporate vivid descriptions of people, places, and events, as well as dialogue and character development (Diko, 2023c). They can be humorous, satirical, or serious, and may contain elements of fantasy or magical realism (Chapman, 2022).…”