https://ir.unisa.ac.za/handle/10500/172 Sat, 19 Sep 2026 01:25:04 GMT 2026-09-19T01:25:04Z https://ir.unisa.ac.za/handle/10500/33032 Ku paluxiwa ka vaxisati eka ntlango wa rhadiyo wa Xitsonga hi ku kongomisa eka ntlango wa tlanga hi ku siyerisana wa Mina hi mina eka Munghana Lonene FM Miyambo, Matimba Elliot Ndzavisiso lowu wu xopaxopile ku paluxiwa ka vaxisati eka ntlango wo tlanga hi ku siyerisana wa swiphemu wa Mina hi mina. Xikongomelokulu xa wona i ku paluxa hilaha vatlangi vaxisati va paluxiwaka hakona eka Mina hi mina hi xikongomelo xo kuma loko ku ve mitirhorimbewu leyi vatlangi va nyikiwaka yona ya fambisana na ndhavuko wa vona wa Vatsonga ke; no tlhela wu kuma loko ku ve ku na ku cinca ku fambisanaka ni cinco lowu wu nga kona hitlhelo ra swa matshamelo, swa mabindzu ni swa tipolitiki. Leswi swi susumetiwa hi ku va Vatsonga va ri ni vurhangisavaxinuna naswona hi xona xivangelo lexi endlaka leswaku vaxisati va nyikiwa mitirho leyi hlohlotelaka vurhangisavaxinuna erixakeni. Ndzavisiso lowu wu tirhisa maendlelo ya nxopelo wa vugingirikelaxisati wa matsalwa (lama humaka eka Thiyori ya Vugingirikelaxisati) lama xopelaka vaxisati eka matsalwa. Tshako ra ndzavisiso lowu ri tshamile eka swikholwana swa ndhavuko leswi vulaka leswaku vaxisati a va na nkoka, vo lavelela ka wanuna naswona a hi mitirho yingani va nga yi tirhaka handle ka ya xisati ntsena. Ndzavisiso lowu, wu kumile leswaku vurhangisavaxinuna byi tshikelela vaxisati. Tlhandlakambirhi, ndzavisiso wu kumile leswaku vaxisati lava va tshuriwaka hi vatsari eka Mina hi mina va leswi va nga xiswona hikokwalaho ka vurhangisavaxinuna lebyi va hanyaka no huma eka byona. Nakambe, ndzavisiso lowu wu kumile leswaku ku na swikoweto swa ku cinca loku ku nga kona ku humaka eka maendlelo ya xintu kumbe ya xikhale eka vaaki hitlhelo ra mapaluxelo kun’we mitirho hikuva van’wana vaxisati eka Mina hi mina va nyikiwa mitirho leyi khale a yi tirhiwa hi vaxina; This study examined the portrayal of women in the radio drama series Mina hi mina. The main aim was to examine how women characters are portrayed in Mina hi mina with the intention of finding out if the sex roles assigned to female characters reinforce the stereotypical roles of Vatsonga women and to determine whether there is a link or shift to represent the current social, economic, and political reality. This is prompted by the fact that Vatsonga are patriarchal, and their literature mirrors their society. In this study, it is argued that female characters are assigned duties, chores and roles that support the dominance of males over females which helps in promoting patriarchal society. This study used the feminist literary criticism (which is informed by Feminist theory) which investigates how women are portrayed in literary texts. The backbone is resting on the cultural belief that women are inferior, dependant and have limited job opportunities. In conclusion, the study found that patriarchy dominates over women. It also revealed that there is a link between how female characters in Mina hi mina are created and the patriarchal society where they come from in mind. The findings also show that there are signs of shifting away from the traditional societal roles of women by some female characters who are given roles that were predominately assigned to males. Text in Tsonga language, abstracts in English and Tsonga Fri, 15 May 2026 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/33032 2026-05-15T00:00:00Z https://ir.unisa.ac.za/handle/10500/32936 An artistic deconstruction of female obesity by referencing Xhosa and Western cultural contradicting stereotypification Tshangana, Nangamso Ntokozo This study interrogates female obesity, referencing contradicting Xhosa and Western cultural stereotypes and their impact on modern females, arguing that these stereotypes affect individuals’ self-acceptance, sometimes resulting in low self-esteem. It also highlights the impact of social media on the obesity of modern young women, affecting their self-image and confidence. The study argues that the contradicting African cultural and Western stereotypes present modern African women’s self-image with emotional and physical chaos. This is because most African traditional cultural people believe that a healthy child’s image is that of a full body, which is in opposition to the Western norm that a thin body shape is “sexy” and a sign of wellness. This study is set within phenomenological and autoethnographic methodologies based on the researcher’s self-reflection while presenting various scenarios and practices regarding the modern female body and its dilemmas. These include beauty pageantry, acceptable looks and current practices such as tummy tucks, breast enlargement and reduction, buttocks augmentation and many other modifications driven by the so-called ideal and appealing female body. This study further argues that fatness both fascinates and repels modern society, as can be seen in the popularity of fat jokes in an era of supposed tolerance and respect for diversity and in the mockery of fat bodies in the pop cultural spheres. Thus, in this context, fatness is stigmatised due to socially acceptable stereotypes. The study is situated within current feminist discourses on the female embodiment of her body and the application of stereotyping as a form of stigmatising. Feminist theories describe the present condition of women and men’s ways of understanding towards eliminating race, gender and sexual hierarchies. Male and female gaze concepts are also explored to express the impact of stereotypes on the female body. This study is practice-led and practice-based, and it culminated in a solo exhibition depicting emerging visual representations towards new knowledge while improving artistic practice. The practical work was framed through various contemporary artistic discourses that deal with and embrace the full body shape, as well as using art activism as a therapeutic endeavour.; Olu phandolwazi luphanda ngokutyeba kwabasetyhini, lubhekisa kwiinkolelo ezigwenxa eziphikisanayo zenkcubeko yamaXhosa neyaseNtshona kunye nefuthe lazo kubantu basetyhini bale mihla, lubonisa ukuba ezi nkolelo zigwenxa zichaphazela ukuzithemba komntu, ngamanye amaxesha zikhokelela ekuzijongeleni phantsi. Lukwabhentsisa ifuthe lamajelo onxibelelwano loluntu ekutyebeni kwabasetyhini abaselula bale mihla, elichaphazela indlela abazibona ngayo nokuzithemba kwabo. Olu phandolwazi lubonisa ukuba iinkolelo ezigwenxa eziphikisanayo zenkcubeko yamaAfrika neyaseNtshona ziveza indlela abazibona ngayo abasetyhini bale mihla kunye nokudideka ngokweemvakalelo nasemzimbeni. Oku kungenxa yokuba abantu abaninzi benkcubeko yemveli yaseAfrika bakholelwa ukuba umfanekiso womntwana osempilweni ngumzimba omkhulu, nto leyo ephikisanayo nenkcubeko yaseNtshona yokuba umzimba obhityileyo onomtsalane ngo- "sexy" nobonakalisa impilo entle. Olu phandolwazi lusekelwe kwiindlela zokwenza uphando ngokwamava oluntu kwezentlalo kunye nendlela yophandontyilazwi apho abaphandilwazi basebenzisa amava abo obuqu ukuqonda imicimbi yezentlalo (iautoethnography), esekelwe ekuzibonakaliseni komphandilwazi ngelixa ebonisa iimeko ngeemeko neenkqubo ngeenkqubo malunga nemizimba yabasetyhini yale mihla kunye neengxaki zayo. Oku kuquka imiboniso yoonobuhle, inkangeleko eyamkelekileyo kunye neenkqubo zangoku ezifana nokunciphisa isisu, ukukhulisa nokunciphisa amabele, ukongezwa kweempundu kunye nolunye utshintsho lwenkangeleko olubanzi olwenziwayo kwimizimba yabasetyhini olubizwa ngokuba kukufaneleka nokuba nomtsalane. Olu phandolwazi luqhubeka lubonisa ukuba ukutyeba kusematheni kwaye akwamkelekanga kuluntu lwale mihla, nanjengoko kunokubonwa indlela uluntu oluthanda ngayo ukuhlekisa ngokutyeba ngelixa kusithiwa uluntu luyanyamezelana kwaye iyahlonitshwa iyantlukwano yalo, kunye nokuhlekwa nokugezelwa kwemizimba etyebileyo kwiinkalo vii ezahlukileyo zentlalo yoluntu. Ngoko ke, kule meko, ukutyeba kubekwa ibala ngenxa yeenkolelo ezigwenxa ezamkelekileyo eluntwini. Olu phandolwazi lubekelwe phakathi kweengxoxo zangoku zobutshantliziyo ngezobubhinqa malunga nokubonakaliswa kwemizimba yabasetyhini kunye nokusetyenziswa kweenkolelo ezigwenxa nanjengendlela yokubeka ibala. Iingcingane zobutshantliziyo ngezobubhinqa zichaza imeko yangoku yeendlela zabasetyhini nezamadoda zokuqonda malunga nokuphelisa ukungalingani ngokobuhlanga, isini kunye nezesondo. Kukwaphononongwa nesigama sendlela yokujonga amadoda nabasetyhini ukubonisa ifuthe leenkolelo ezigwenxa kwimizimba yabasetyhini. Olu phandolwazi lusekelwe kwaye lukhokelwa ngumsebenzi wezobugcisa, lwaze lwafikelela kwinqanaba lomboniso wobugcisa owodwa obonisa ukuboniswa okubonakalayo kokuvelayo kulwazi olutsha ngelixa kuphuculwa umsebenzi wezobugcisa. Umsebenzi owenziwayo wezandla uqulunqwe ngeentetho ezahlukileyo zobugcisa zala maxesha ezijongana nokwamkela ukumila komzimba omkhulu, kunye nokusebenzisa ubutshantliziyo bezobugcisa nanjengenzame yokulungisa umba wezempilo nempilontle yoluntu.; Nyakišišo ye e botšološiša go nona ga basadi, e šupetša thulano ya dikgopolotee tša setšo sa Bodikela le sa Sethosa le khuetšo ya tšona go basadi ba sebjalebjale, ka go bolela gore dikgopolotee tše di ama boikamogelo bja batho, ka dinako tše dingwe di feleletša ka boinyatšo. Gape e gatelela khuetšo ya bobegaditaba tša leago godimo ga go nona ga basadi ba e lego baswa ba sebjalebjale, go ama boitlhompho le boitshepo bja bona. Nyakišišo e bolela gore dikgopolotee tše di thulanago tša setšo sa Afrika le sa Bodikela di fa boitlhompho bja basadi ba sebjalebjale ba Afrika mathata a maikutlo le a mmele. Se ke ka lebaka la gore bontši bja batho ba setšo sa setšo sa Afrika ba dumela gore seswantšho sa ngwana yo a phetšego gabotse ke sa mmele wo o feletšego, seo se thulanago le mokgwa wa Bodikela wa gore sebopego se se sesane sa mmele se “sexy” gape ke seka sa bophelo bjo bobotse. Nyakišišo ye e beakantšwe ka gare ga mekgwa ya fenomenolotši le othoetenokrafi yeo e theilwego godimo ga boipotšološišo bja monyakišiši mola e tšweletša maemo le mekgwa ye e fapanego mabapi le mmele wa sebjalebjale wa mosadi le mathata a wona. Tše di akaretša go bontšha botse, ponagalo ye e amogelegago le mekgwa ya bjale ya go swana le go dithamithake, go oketša le go fokotša matswele, go oketša marago le diphetogo tše dingwe tše ntši tšeo di hlohleletšwago ke seo se bitšwago mmele wa mosadi wo o lego maleba le wo o gogago šedi. Nyakišišo ye e tšwela pele gape go bolela gore go nona go kgahla le go tena setšhaba sa matšatši a lehono, bjalo ka ge go ka bonwa ka go tuma ga metlae ya ka ka ga go nona mehleng yeo go thwego ke ya kgotlelelo le tlhompho ya go fapafapana le go kwerwa ga mebele ye e nonnego mo dikarolong tša setšo sa phopo (pop). Ka go realo, mo sebopegong se, go nona go kgethollwa ka lebaka la dikgopolotee tše di fošagetšego tšeo di amogelegago setšhabeng. Nyakišišo e beakantšwe ka gare ga dipolelo tša bjale tša bofeminisi ka ga mothofatšo ya mosadi wa mmele wa gagwe le tirišo ya go se swane bjalo ka mokgwa wa go kgetholla. Diteori tša bofeminisi di hlaloša seemo sa bjale sa ditsela tša kwešišo tša ix basadi le banna go ya go fediša maemo a morafe, bong le thobalano. Dikgopolo tša go lebelela ga banna le basadi le tšona di a hlahlobja go tšweletša khuetšo ya dipono tše di sa swanego mmeleng wa mosadi. Nyakišišo ye ke ya go etwa pele le go thewa godimo ga tiragatšo, gomme e feleleditše ka pontšho e tee ye e bontšhago dikemedi tša pono tše di tšwelelago go ya tsebong ye mpsha mola e kaonafatša mokgwa wa bokgabo. Mošomo wo o šomago o be o foreimilwe ka dipolelo tša bokgabo tša sebjalebjale tše di fapafapanego tšeo di lebanego le go amogela sebopego sa mmele ka moka, gammogo le go šomiša boikgafo bja bokgabo bjalo ka maitapišo a kalafo. Sat, 01 Feb 2025 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32936 2025-02-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/32888 Lamenting chaos. Vulnerability expressed in art Mouret, Heidi Elizabeth This study examines anxiety through a posthuman lens, using rhizome theory and the concept of “becoming”. It embraces a fluid state of environmental connection, accepting real and perceived chaos. Through visual art, a tensional relationship between trauma, vulnerability and obsessive control is explored, establishing its impact on female artists and their creative work. The study interrogates chaos and order, fear and control, despair and resilience in the works of Julie Mehretu, Leora Farber and Joana Choumali, through a review of literature, textual analyses, autoethnography and practice-led artmaking. Employing new materialism, multidirectional thinking and convergence theories, the research highlights how selected works from these artists intersect with my creative praxis as an embodied expression of lamentation and grief. My artmaking resulted in the exhibition Disquiet (2024), which, through art, provides a dialogical response to the ambivalences and resilience required to live a precarious life.; Hierdie studie ondersoek angs deur ʼn postmenslike lens, met behulp van risoomteorie en die konsep van “wording”. Dit behels ʼn vloeibare toestand van omgewingsverbintenis, wat werklike en waargenome chaos aanvaar. Deur middel van visuele kuns word ʼn spanningsverhouding tussen trauma, kwesbaarheid en obsessiewe beheer ondersoek, wat die impak daarvan op vroulike kunstenaars en hulle kreatiewe werk bepaal. Die studie gebruik ʼn literatuuroorsig, tekstuele ontledings, outo-etnografie en praktykgedrewe kunsmaak om chaos en orde, vrees en beheer, wanhoop en veerkragtigheid in die kunswerke van Julie Mehretu, Leora Farber en Joana Choumali te ondersoek. Met behulp van nuwe materialisme, multidireksionele denke en konvergensieteorieë, beklemtoon die navorsing die oorvleueling van my kreatiewe praktyk met geselekteerde kunswerke van hierdie kunstenaars as ʼn beliggaamde uitdrukking van weeklaag en hartseer. My kunsmaak het gekulmineer in die uitstalling Disquiet (2024), wat ʼn dialogiese reaksie bied op die ambivalensies en veerkragtigheid wat nodig is om ʼn onseker lewe te lei.; Olu phandolwazi luphonononga ixhala ngokwembono yobuposthuman1 ekwiyindlela yokuhlalutya ejonga ubudlelwane phakathi kwabantu, ubuchwepheshe, indalo nezinye izinto ezingengobantu, endaweni yokubeka umntu njengoyena obalulekileyo, ngokusebenzisa ithiyori yerhayizom2, kunye nengcamango ethi “ukuba kwinkqubo yenguqu eqhubekayo”. Kwamkelwa imeko eguquguqukayo yonxibelelwano nendalo esingqongileyo, ukuba umntu unxulumene, uyinxalenye ephilayo yehlabathi elingenakuqondakala, nokuba kwimeko yokuyeka ukufuna ukulawula yonke into, kunye nokwamkela ukuba ebomini kukho izinto ezingekho ngqiqweni nezingaqikelelwanga neemvakalelo zokubhideka anokuba nazo. Ngokusebenzisa ubugcisa bokuzoba, kuphononongwa ubudlelwane obunoxinzelelo phakathi komonzakalo wengqondo, ukuba buthathaka, nolawulo olugqithisileyo, ukuze kuboniswe indlela ezi zinto ezichaphazela ngayo amagcisa angabasetyhini, kunye nomsebenzi wawo wobugcisa. Olu phandolwazi luhlalutya iingcamango zesiphithiphithi nocwangco, uloyiko, ulawulo, ukuphelelwa lithemba, nokomelela xa kujongwa imisebenzi kaJulie Mehretu, ULeora Farber, kunye noJoana Choumali, kusetyenziswa uphononongo loncwadi, uhlalutyo lwetekisi, autoethnografi3, kunye nokuveliswa kobugcisa obukhokelwa yinkqubo yokuzoba. Ngokusebenzisa ithiyori yematerialism entsha (egxininisa ukuba izinto eziphathekayo, indalo, imizimba, nezinto ezingengobantu zinendima ebalulekileyo ekubumbeni ihlabathi nakwimveliso yolwazi, hayi nje abantu bodwa), ukucinga ngeendlela ezininzi, kunye neethiyori zokudibana kweengcamango neenkqubo4. Olu phando lubonisa indlela imisebenzi yobugcisa ekhethiweyo yala magcisa edibana ngayo nomsebenzi wam wobugcisa njengendlela ebonakalisa ngokwasemzimbeni ukulila nokuba nentlungu. Umsebenzi wam wokwenza ubugcisa wafikelela kwinqanaba eliphezulu ngomboniso wobugcisa iDisquiet (2024), onika impendulo yengxoxo malunga nokungaqiniseki neemvakalelo eziphikisanayo, kwakunye nokomelela okufunekayo ukuze umntu aphile ubomi obungazinzanga. Text in English with abstract in English, Afrikaans and Xhosa Sun, 01 Feb 2026 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32888 2026-02-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/32886 Theorizing the augmented reality orchestra: a reflexive analysis of an original film score for chamber orchestra and electronic effects Shadel, Nick My thesis explores the relationship between orchestral instruments and digital sound processing in a film scoring context, with particular emphasis on the analysis and development of composition and orchestration techniques. I analyze the results of various electronic effects, when applied to acoustic instruments of the orchestra, both individually and in ensembles. My project incorporates the composition of an original film score that utilizes orchestral instruments being processed through digital effects to create a unique sonic landscape. I have named the concept ‘The Augmented Reality Orchestra’, and much of my study analyzes Augmented Reality Orchestration Theory, which identifies the impact of digital sound processing on traditional orchestration practices, and ways in which it can eliminate limitations and expand the expressive scope of the ensemble. My experiment explores processing the effects in real time, as they are being played and recorded with a microphone, as well as adding digital effects to virtual instruments. The ensemble will be used to write and record film music, a field undergoing changes from a notation-based approach to a DAW-based approach, exploring expanded tonal and performance opportunities. The first phase of my methodology involves testing individual instruments through a variety of effects, and documenting the results. I then experiment with the effected sounds in a creative, compositional context, eventually leading to the development of composition and orchestration techniques. I begin small, writing for solo instruments, then duets, quartets, quintets, a chamber ensemble, then finally score a film with the techniques that I have collected. The primary goal of the study is to reinterpret and recontextualize the instrumental palette of the orchestra, in the age of digital technology.; My verhandeling ondersoek die verhouding tussen orkesinstrumente en digitale klankverwerking in ʼn filmkomponeringkonteks, met klem op die ontleding en ontwikkeling van komposisie en instrumentasietegnieke. Ek ontleed die resultate van verskeie elektroniese effekte wanneer dit op akoestiese orkesinstrumente toegepas word, beide individueel en in ensembles. My projek het die komposisie van oorspronklike filmmusiek behels wat orkesinstrumente deur digitale effekte verwerk het om ʼn unieke klanklandskap te skep. Ek het die konsep The Augmented Reality Orchestra (die aangevulde realiteitsorkes) genoem en baie van my studie ontleed die teorie van aangevulde realiteitinstrumentasie, wat die impak van digitale klankverwerking op tradisionele instrumentasiepraktyke identifiseer, en maniere waarop dit beperkings kan uitskakel en die uitdruklike omvang van die ensemble kan uitbrei. My eksperiment ondersoek die intydse verwerking van die effekte soos wat dit met ʼn mikrofoon gespeel en opgeneem word, asook die byvoeging van digitale effekte na virtuele instrumente. Die ensemble sal gebruik word om filmmusiek te komponeer en op te neem, ʼn veld wat verandering van 'n ideegebaseerde benadering na ʼn digitale oudiowerkstasie-benadering ondergaan, en uitgebreide tonaliteit- en uitvoeringgeleenthede ondersoek. Die eerste fase van my metodologie behels die toetsing van individuele instrumente deur ʼn verskeidenheid effekte en dokumentering van die resultate. Ek het daarna in ʼn kreatiewe, kompositoriese konteks met die effekte klanke geëksperimenteer, wat uiteindelik tot die ontwikkeling van komposisie- en instrumentasietegnieke gelei het. Ek begin klein deur vir soloinstrumente te komponeer, dan duette, kwartette, kwintette, ʼn kamerensemble, en uiteindelik filmmusiek deur die tegnieke wat ek versamel het. Die primêre doel van die studie is om die instrumentale palet van die orkes in die tyd van digitale tegnologie te hervertolk en herkontekstualiseer.; Ithesis yami ihlola ubudlelwano phakathi kwezinsimbi ze-okhestra kanye nokucutshungulwa komsindo wedijithali kumongo wokuthola amaphuzu wefilimu, ngokugcizelela kakhulu ekuhlaziyweni nasekuthuthukisweni kokwakheka kanye namasu okucula. Ngihlaziya imiphumela yemiphumela ehlukahlukene ye-elekthronikhi, uma isetshenziswa kumathuluzi e-akhscoustic weorchestra, ngawodwana nakuma-ensembles. Iphrojekthi yami ihlanganisa ukwakheka kwesikolo sangempela sefilimu esebenzisa amathuluzi e-okhestra acutshungulwa ngemiphumela yedijithali ukuze kwakhe indawo yesonikhi eyingqayizivele. Ngiqambe lo mqondo ngokuthi ‘I-Augmented Reality Orchestra’, futhi ingxenye enkulu yocwaningo lwami ihlaziya i-Augmented Reality Orchestration Theory, ekhomba umthelela wokucubungula umsindo wedijithali ezinkambisweni zokucula zendabuko, nezindlela ezingasusa ngazo imikhawulo futhi zandise ububanzi obucacile beqoqo. Ukuhlola kwami kuhlola ukucubungula imiphumela ngesikhathi sangempela, njengoba idlalwa futhi irekhodwa ngombhobho, kanye nokwengeza imiphumela yedijithali kumathuluzi abonakalayo. Iqoqo lizosetshenziselwa ukubhala nokuqopha umculo wefilimu, umkhakha obhekene nezinguquko ukusuka endleleni esekelwe kumanothi ukuya endleleni esekelwe ku- DAW, ukuhlola amathuba anwetshiwe ethoni nawokusebenza. Isigaba sokuqala sendlela yokusebenza yami sibandakanya ukuhlola amathuluzi ngamanye ngemiphumela ehlukahlukene, nokubhala imiphumela. Ngibe sengizama imisindo eyenziwe ngomongo wobuciko, wokuqamba, ogcina uholela ekuthuthukisweni kokuqamba kanye namasu okucula. Ngaqala kancane, ngibhalela labo abasebenzisa izinsimbi zomculo wesolo, bese kuba amajuwethi, amakhwathethi, amakhwinthense, itshemba ehlanganisiwe, bese ekugcineni ngikora ifilimu ngamasu engiwaqoqile. Umgomo oyinhloko wocwaningo ukuhumusha kabusha nokuhlanganisa kabusha iphalethe yezinsimbi ze-okhestra, eminyakeni yobuchwepheshe bedijithali. Sat, 01 Jan 2022 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/32886 2022-01-01T00:00:00Z