Browsing by Author "Kangira, Jairos"

Now showing 1 - 7 of 7
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    African Hybrids: Exploring Afropolitan identity formation in Taiye Selasi’s Ghana must go and Chimamanda Adichie’s Americanah
    (University of Namibia, 2015) /Ucham, Emelda U.; Kangira, Jairos
    This paper discusses the representation of Afropolitan identity formation in Taiye Selasi’s debut novel Ghana must go (2013), and Chima manda Adichie’s novel Americanah (2013). The aim of the paper is to discuss Afropolitan identity formation as presented in the two novels using Selasi’s (2005) essay Who is an Afropolitan? as a benchmark. Selasi blends the words ‘Africa’ and ‘cosmopolitan’ in her essay, which discusses several themes, namely: cultural hybridity, careers, identity formation, self-expression and an African bond as they relate to the Afropolitan. Although we have listed all the major themes above, this paper only focuses on the theme of Afropolitan identity formation. For example, in Ghana must go (2013) Kehinde, the twin boy struggles with his identity because of his Scottish heritage which gives him a skin complexion that is neither black nor white and he does not know what nationality to consider himself. In Americanah (2013), Dike also struggles with his identity because he expresses in a school essay that he does not know his identity and that his name is difficult to pronounce. The analysis concluded that not only do Afropolitans need to craft an identity on three levels according to Selasi (2005, para. 9) “national, racial, cultural – with subtle tensions in between”, but the experience can be traumatic and painful, both emotionally and physically. This paper contributes to knowledge of the world as a global village, but more specifically the international integration of cultures as expressed in literature, not only in the African diaspora, but in Africa as well.
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    An exploration of the portrayal of the girl-child in Erna Muller’s novels It all goes wrong and when you dance with the crocodile
    (University of Namibia, 2016) Chunga, Timothy M.; Kangira, Jairos
    This paper provides a critical analysis of the portrayal of the girl-child by Erna Muller in It all goes wrong (2014) and When you dance with the crocodile (2014). The two novels were selected using purposive sampling as they primarily characterise girl-children as protagonists. The researchers employed the African feminist literary theory as argued by Chukwuma (2006) in this study. The African feminist literary theory was used to study how the girl-child is portrayed in a patriarchal world. Content analysis was used to examine the depiction of the girl-child in the two novels. The study revealed that in both novels the girl-characters make independent decisions and act on them, while other characters such as adults and boys play secondary roles. The study found that Erna Muller portrays the girl-child as innocent, open minded, caring, adventurous, assertive, compasssionate and brave. All in all, it can be concluded that Muller uses the two novels to empower the girl-child.
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    Praiseworthy values in President Hifikepunye Pohamba's epideictic speech marking Namibia's 20th anniversary of independence
    (University of Namibia, 2012) Kangira, Jairos
    This paper provides a rhetorical analysis of President l-lejlkepunye Pohamba's inaugural speech which he delivered when sworn in for his second term of office on 21 March 2010, the 2oth anniversary of Namibia's Independence. In our analysis we unravel the praiseworthy values contained in the speech and we also look at the unsaid or implied messages which we label subtleties. By using careful!y chosen words and phrases, Pobamba's speech promoted democracy, peace, unity, dignity, accountability, transparency, honesty, patriotism and the rule of low in Q nation of diverse cultures. As is the practice in speech communication, Pohamba used Aristotle's three proofs of rhetoric, namely, pathos, ethos and logos in his ceremonial speech, to persuade the audience to identify with his goals. Identification and con.substantiality play a crucial role in rhetoric. Speakers employ identification and consubstantiality in their speeches in order to influence the audience to view things the way they (speakers) see them. We also demonstrate that a speech never comes in isolation or alone; the Speaker traced the past and present, and gave a glimpse of the future of the country. Throughout the speech we see a pious President who subscribes to the democratic value of turn-taking of the Presidency as he openly stated that this was his second and last term as President of the RepubHc of Namibia.
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    Remembering or re-membering? Life-writing and the politics of narration in Morgan Tsvangirai’s autobiography At the deep end (2011)
    (University of Namibia, 2013) Kangira, Jairos; Moyo, Thamsanqa; Gonye, Jairos; Hlongwana, James
    Morgan Tsvangirai’s autobiography is a construction of both personal and national identities from the 1960s up to 2011. In doing that the autobiography At the Deep End reshapes events from the colonial up to the period of Zimbabwe’s crisis with a view to staking a specifi c, deliberate identity that privileges the self as more sinned against than sinning. This paper interrogates Tsvangirai’s autobiography so as to unpack the conspicuous presences and absences and the motive of such narration. The paper argues that the politics of narration in the book is motivated by the reality of his being a leader of the opposition party in Zimbabwe where he has faced a lot of accusations about his history and leadership qualities. Tsvangirai’s party, the Movement for Democratic Change (MDC) was often branded as a ‘terrorist’ organisation by the ruling party, the Zimbabwe African National Union – Patriotic Front (ZANU PF). We argue that Tsvangirai’s analysis of events is compromised by his view of the self as a possible leader in Zimbabwe. Out of the possible selves generated by his shifty experiences, he privileges the political identity in order to create an aura of relevance in the rugged political terrain of Zimbabwe. Thus the autobiography is constructed in a way that shows remembrance and re-membering of historical accounts.
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    The role of drama in teaching English: Towards the enhancement of students’ communicative skills at the University of Namibia
    (University of Namibia, 2018) Namundjebo, Elizabeth Q.; Kangira, Jairos; Morgan, Elizabeth
    The purpose of this study was to explore the role of drama in teaching English to enhance students’ communicative skills at the University of Namibia. The discussions of the research focused on assessing the benefits of using drama in the teaching of English to increase students’ motivation and self-confidence, as well as to enhance their communicative skills. Research findings revealed the effectiveness of drama oriented English lessons to the benefits of students’ speaking skills, motivation, self-esteem and confidence in their abilities to communicate in English. In addition, the findings revealed that drama activities aided students develop a community and foster group cohesiveness, which helped in building students’ confidence when speaking English in front of their classmates. Moreover, the study results revealed that motivation is linked to self-confidence as the drama activities accorded students the opportunity to use the target language in real life situations.
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    Views and preferences of parents, teachers and principals on the implementation of the language policy in primary schools in Namibia
    (University of Namibia, 2012) Mostert, Louise; Hamunyela, Miriam N.; Kasanda, Choshi D.; Smit, Talita C.; Kangira, Jairos; Zimba, Roderick F.; Hengari, Job U.; Veii, Kazuvire R.
    The language policy of schools in Namibia states that from grade 1 to grade 3, learners should receive education in their mother tongues. The mother tongue becomes a subject from grade 4 onwards while English takes over as the medium of instruction. This paper presents the views of parents, teachers and principals and parents on how this policy is implemented in three schools studied in the Khomas region. Data were collected using semi-structured interviews from one urban school, one peri-urban school and one rural school. The fi ndings of the study refl ect diff erent language preferences between parents and teachers, the latter favouring English and the former advocating the mother tongue as
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    Women characters in Sifiso Nyathi’s play God of Women, and William Shakespeare’s Othello: A comparative exploration
    (University of Namibia, 2014) Masule, Christopher M.; Kangira, Jairos
    This paper compares the depictions of women characters in the plays God of Women written by Sifiso Nyathi (a famous Namibian playwright) and Othello by William Shakespeare, respectively. The two playwrights were purposely chosen on the basis that Nyathi (a Black playwright) writes in the 20th century, in Namibia, a country in Southern Africa, while Shakespeare (a White playwright) wrote in the 17th century, in England, Europe. Despite the racial differences and epochs in which the playwrights have lived and written, the paper revealed that, generally, both Nyathi and Shakespeare use a gender-bias style of writing in depicting women characters in their plays. Nyathi’s depictions portray women as sex objects for their husband’s sexual pleasures in a polygamous marriage, and also as exchange material for wealth. Women also have been portrayed as destitutes who have to stay in subservient conditions at the mercy of their husbands despite the physical and emotional abuse they endure. Shakespeare also portrays women characters negatively as dependent on their fathers in Othello. He portrays women characters as sex goddesses who would compel men to murder their women out of immense worshipping-kind of love for them. Conversely, Nyathi and Shakespeare depict women as intelligent and rational thinkers, as we see Desdemona in Othello defending her position in her choice for Othello before her father. In God of Women the wives of Chief Lewanika embrace MaInonge in solidarity of the oppressed sisters when she collapses after Joyce reveals her secret that she had a son out of wedlock with Chief Lewanika. The analysis concluded that both Nyathi and Shakespeare largely portray women characters negatively in their works, albeit in different ways that are typical of the cultures and epochs in which the authors lived. The analysis also revealed that both Nyathi and Shakespeare make use of literary devices such as foregrounding, metaphors and similes to enliven their plays and to appeal for their audiences’ entertainment.