Masters Degree Dissertations

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Masculinity and gender stereotyping in selected novels by Ugandan female writers
(Kyambogo University (unpublished work), 2010-05) Timbyanga, xavier katunda
Many Ugandan women writers have asserted that although in the sixties and seventies Uganda was producing phenomenal works of literature, "women voice were clearly missing" (Feminist Africa). According to Mary Karooro. the absence of voices of women "has resulted into an omission of women's experiences from the literary and cultural heritage that shape the society" (Karooro). As a response to this gender inequality and distortion, in the Ugandan context, Ugandan women writers resorted to the pen to rewrite their story. Given the recent dominance of female writers on the Ugandan scene under FEMRITE, the study attempts to examine how Ugandan female writer portra) the desires. anxieties, perception and expectations about masculinity. Attention has been paid on how the Ugandan women writers have tried to use their works of literature to straighten the record in the face of some of the previous writing (by men) which had painted the picture of an all male society" (Kiyimba 32). The research was library based and involved analyzing selected novels of some Ugandan female writers who write under the umbrella of FEMRITE. Barungi·s Cassandra. Kyomuhendo·s Whispers From Vera. The First Daughter and Karooro ·s Child of A Delegute and The invisible Weelil were used as primary sources. Other novels by these authors were used as secondary sources alongside works of various authors. The study addresses itself to the causes and kinds of gender stereotypes and points out both the negative and positive effects of these explicit and implicit gender stereotypes on society. It investigates in details gender power relations from the social. political and economic points of view in the Ugandan context. Chapter one shows how the subordination of women has been popularized by patriarchy through empowerment of men over women. It reveals how power imbalances in society has led to the oppression and stereotyping of women. The chapter shows women's argument that the oppression of women by men has been extended into their works of literature in form of distortions of images of women. The chapter also highlights the birth of the FEMRITE group of writers in Uganda as a response to the male dominated literary landscape. It shows how these writers came on stage to rewrite the story of women from the women's point of view in order to clear the image of women. It shows how in the process of correcting the distorted image of women the image of men has also
A comparative analysis of the representation of statecraft in Shakespeare and Ruganda's plays Julius Caesar and the Floods
(Kyambogo University [unpublished work], 2012-09) Namusisi, Justine Lugoloobi
This study compared the representation of statecraft in Shakespeare's play, Julius Caesar, and Ruganda's play, The Floods. The study focused on the dramatists' perception of what is involved in the political processes. Generally, the study was library-based, and employed a qualitative approach in its examination, analysis and interpretation of the political issues in the plays. The theme of statecraft1 in Julius Caesar and The Floods was examined under two major sub-themes: politics and violence. Politics was further analyzed under the categories of political personnel and political experiences, namely: friendship and betrayal, futility of independence, and manipulation of the common people. The theme of violence was analyzed under the categories: repression, wars and coups, sexual violence, and the consequences of political violence. It was observed in the background to the study that the two playwrights greatly draw on the social and political milieu of their respective societies. Shakespeare wrote his play, Julius Caesar, in the l 5th- l 6th century, to portray the political climate in England which was characterised by struggles. Similarly, Ruganda was informed by the social and political forces of the Amin regime of 1971- 1979, to write his play, The Floods. The study employed both T.S. Eliot (1888-1965) idea of the 'timelessness of art2, expressed in his essay 'Tradition and the Individual Talent' and Reader-Response theory3 in its comparative analysis of a new writer, Ruganda, to an old writer, Shakespeare. From the Reader-Response point of view, the research argued that Ruganda 'misread4, Shakespeare's Julius Caesar. In other words, he saw the Ugandan political atmosphere with the lenses of the Roman world depicted in Julius Caesar, itself a camouflaged reflection of the Elizabethan England. The study identified common grounds in the representation of the political atmosphere, modes employed in attaining and sustaining power, and the dramaturgy of presenting political violence in the plays, Julius Caesar and The Floods. The study established that Julius Caesar and The Floods have commonalities in the representation of political figures, practices and experiences. The study also logically argued that the two texts share content and methods of representing the theme of political violence. It was therefore concluded that Ruganda 'misread' Shakespeare's Julius Caesar when he wrote his play, The Floods. But the study also discovered unique areas in the dramaturgy employed in presenting the themes of the plays.
Deconstruction of the portraitures of the girl child and the boy child in the folktales, proverbs and proverbial names of the Baganda.
(Kyambogo University [unpublished work], 2013-03) Frances, Namirembe Theresa
This study is a deconstruction of the portraitures of both the girl child and the boy child in thirty selected oral works of the Baganda. The works include folktales, proverbs and proverbial names of the Baganda. Literature, like all communication reaches a wide audience in any society. It is attractive and appealing because it is often offered in the context of performance. This is why it has often been the medium of the social construction of gender. The Buganda sub-region of Uganda is no exception. In Buganda, oral literature, especially folktales, proverbs and proverbial names, has been the primary means of initiating and incorporating young boys and girls into the cultural norms and experiences. In my investigations, I was armoured with the provisions of the 1995 Constitution of Uganda on human rights, the demands of children's literature, the required international standards of children's literature, the role of literature in development and the modem trends of thought: like gender main streaming. My analysis of the selected works reveals that the oral literature of the Baganda involves deep seated gender disparities engraved in an age-old patriarchal system. Although folk tales, proverbs and proverbial names of the Baganda have groomed their fore-parents from time immemorial, the same literature has subjected the girl child/woman to multiple forms of oppression, repression, exploitation and discrimination. To the boy child, the oral literature of the Baganda has apparently skewed positive attributes. Informed by the tripartite theories of deconstruction, post-colonial feminism and reader response, the study undertook the deconstruction of the social constructs of the girl and the boy child characters in the selected folktales and proverbs of the Baganda. The study unearthed embedded contradictions and lies in what appears to be the negative and apparently positive images of girl and boy children respectively. The study proposes new ways of writing folktales, proverbs and sayings to offset the gender imbalances in the oral literature of the Baganda in general.
A critique of governance in Ugandan poetry: a study of selected poems of Henry Barlow, Timothy Wangusa and Susan Kiguli
(Kyambogo University(unpublished), 2014-12-19) Namiyingo, Julian
This study analyzed the portrayal of governance in the selected poems of Henry Barlow, Timothy Wangusa and Susan Kiguli. The study used qualitative research methods and involved critical reading of the selected poems, compilation and analysis of relevant literature. Using the new criticism theory, the study analyzed the poets' use of figures of speech, linguistic, structure and graphological features to portray the subject of governance. The study's findings reveal that Ugandan poetry is majorly a discourse on Uganda's state of governance. The three poets effectively pmiray bad governance characterized by political instability, dictatorship, corruption, pove1iy, injustice, neglect of duty by public servants, wanton loss of human life and excessive involvement of the security agents in politics. The figures of speech through which this state of affair is portrayed include: irony, personification, rhetorical questions, allusion, imagery, symbolism and juxtaposition in the portrayal of governance in Ugandan poetry. The study reveals that these features enable the poets not only to highlight evils of bad governance but also to underscore the fact that bad governance is due to bad leaders. The study establishes that figures of speech are used to criticize patiicular individuals and public institutions responsible for bad governance. The study also analyses neologism, lexical sets, different languages and dialect, diction and register as linguistic features which the poets deliberately use to emphasize the subject of bad governance. Finally, the study reveals that the poets describe the subject of bad governance using graphological deviation, parallelism, external graphology and meter. Through these features, the poets emphasize the bad governance in post-independence Uganda.
A sociological critique of materialist fetishism in orson welles' use of cinematography in citizen june (1941)
(Kyambogo University(unpublished), 2015-09) Ainembabazi, Earnest. B
This dissertation examines how Orson Welles uses deep focus photography, expressive high contrast lighting (chiaroscuro) and mise en scene to socially critique materialistic fetishism in Citizen Kane. The dissertation is premised on the analysis of materialist fetishism, how materialist fetishism breeds individualism and the ways in which materialistic individualism negatively impacts on the individual. Materialism in this dissertation is defined as an orientation that reflects the importance a consumer (person) attaches to worldly possessions (Belk, W. Russell, 291-297). A materialist is defined in this dissertation as any person who believes in Belk's philosophy. Fetishism is defined in this dissertation according to Karl Marx as "anything to which more respect or attention is given than is normal or sensible" (05). This dissertation is grounded in sociological theory, especially the views of Wilbur S. Scott, that "the relations between art and society are vitally important and that the investigation of these relationships may organise and deepen one's aesthetic response to a work of art" (123), Austin Harrington, who writes that "sociological approaches generally possess a stronger sense of the material preconditions, historical flux and cultural diversity of discourse, practices and institutions of art" (31 ), and Karl Marx who insists that "literature should reflect the real world" (70). This dissertation concludes that through the use of specific elements of style; notably deep focus photography, chiaroscuro lighting and mise en scene, Orson Welles serves up a timeless criticism of capitalism and the ills of materialism. Until society overcomes these problems, it is likely that Citizen Kane will continue as a perpetually contemporary reminder on what is truly important in this money driven world.
A comparative analysis of racism and sexism in Shakespeare's Othello and the tempest, and their selected cinematic adaptations
(Kyambogo University (un published work), 2016-11) Etori, Edison
This is a comparative study of the artistic representation of racism and sexism in two different media: the written text and the film text. The primary texts of investigation are two ancient plays by William Shakespeare, Othello (1604) and The Tempest (16 11 ), which are compared with their modern, Hollywood, film adaptations of the same titles: Oliver Parker's Othello ( 1995) and Julie Taymor's The Tempest (20 11 ). Six dramatic techniques which Shakespeare uses to portray racism and sexism in the English society at the time of writing the two plays are compared with their six film equivalents that are employed by the film directors to portray the same ideas of racism and sexism in adaptation. The six dramatic techniques selected to demonstrate the tendency co treat black and female characters as inferior human beings include: physical setting, characterization. props/costumes, blocking, special effects/stunts and songs/music/ plus all other sound effects. The film directors innovate with filmic techniques to recall the history of racism and sexism in England that is reproduced in a modern, Hollywood, American setting. It is argued that the two film adaptations present a more graphic version of discrimination against black people and women in the 20th/2 I 51 Centuries than the one dramatized by Shakespeare in the 17th Century. It is also argued that racism and sexism are universal themes that defy time and geographical space. The study is grounded in Kamilla Elliott' s six "unofficial" theories of adaptation that are used to explain the power in the selected films to magnify and accentuate representations of racism and sexism. These six theories of Elliott are: the ·'psychic," ··ventriloquist," " incarnation," "genetic," "De (Re)-composition" and "trumping." The analysis, however, emphasizes and focuses on the "psychic" and "ventriloquist" theories. The primary methods of investigation include a focused reading of the literary techniques and a corresponding focus on their filmic renditions, which help in establishing why the films have tended to exaggerate racism and sexism. The findings are presented qualitatively in an extended analysis that describes and explains how and why the films tend to blow up ideological representation of racism and sex ism beyond what was envisaged by Shakespeare in his two plays. It is concluded that cinema exaggerates racism and sexism because it employs unique, extra-representational features- both visual and sound effects that directly impact on the viewer's senses as compared to the ways of the written texts where meanings are implied and must be drawn from reading texts. Cinema also employs special effects and srunts to manipulate pictures and sounds, which magnify ideas even further. The final outcome is a depiction of graphic and exaggerated images of racism and sexism on the screen.
A structural analysis of selected Ugandan myths and their social cultural legacy
(Kyambogo University(Un published work), 2017-12) Awio, Zenna K.
This study analysed the structures of the selected Ugandan myths and their socio-cultural legacies. The structures of the myths were examined in term of similarities. differences and archetypal ideas. To find out if the myths are relevant today, the ideas found in the myths were related to the social life style of the communities. The research "as qualitative: the major tools that were used to collect data were, interview guide and focused group discussion. Both primary and secondary sources of data were used to gather information. The first objective on the analysis of the structures called for both field and Iibrary research. The researcher based on structural analysis theory to collect myths from different regions. Structural analysis helped in dividing the myths into the smallest meaningful sentences which were analysed in relation to the structures. The findings indicate that the structures are similar, but not the same. The myths were further analysed by finding out the cause of the similarities and differences. Here archetypal theory that relates to archetypal ideas in the myths was used and it was discovered that the structures of the myths are related to archetypal themes, character and structure. The ideas in the selected Ugandan myths are very close to the ideas in the creation story in the Good News Bible and the play King Oedipus by Sophocles. Another of the causes of the similarities in the myths is because of the movements that the groups were involved in. The study equally aimed at establishing whether the elected Ugandan myths relate to the life style of the communities that subscribe to the myths. The sociological approach. which examines the relationship between art and society was used to relate the myths to what is in the contemporary society. The results show that despite people denying the relevance of myths today, it still holds water. The myths that were studied have a legacy. The groups that subscribe to the myths identify themselves with particular characteristics chat are found in the myths. The researcher therefore recommended that the myths should be taught in schools to enable children appreciate their culture. Further research should also be done on the myths especially those that have different versions like the Ankole and Luo myth.
Intertextual college in the voice-over translation of American feature films into Luganda: the case of ''Firimu enjogerere''
(Kyambogo University(Un published work), 2018) Mugume, Benjamin
This study examines voice-over translation of American feature films into Luganda as film adaptation which involves the adaptation from film into an oral performance dubbed Firimu Enjogerere. The study therefore runs along three strands namely translation, adaptation and orature. First of all it is translation because the voice-over artiste known as the Video Jockey (VJ) renders his own interpretation of the mise-en-scene, action, dialogue and the sounds of an exotic film in Luganda a local language. Secondly, Firimu Enjogerere is adaptation because the aptly named Video Jockey rides on the above mentioned elements of the original film to create his/her own narrative in the new text which becomes a hybrid of Luganda orature and film narrative.Thirdly Firimu Enjogerere is orature because the Video Jockey transcends the traditional notion of Audio-Visual Translation (AVT) by performing orally before an audience that is, to a great extent, more interested in the oral performance than the source film itself. The study has adopted the term orature which was coined by Ugandan poet/playwright/author Pio Zirimu in a ''rejection'' of the term oral literature( Ngugi:2007). The study finds its rationale in two schools of thought namely; the reader response approach to literary criticism whose guiding principle is that the reader/recipient of a literary text brings their world view to its interpretation. Secondly, the view in narratology, advanced by scholar Gerard Gennette, that a narrative is a composition of two distinct aspects; the story itself and the act of telling it. In this study the source film is the story that is retold in an oral performance by the Video Jockey. These theories account for the Video Jockey's act of interpretation/adaptation and creation of a parallel or an alternative narrative to that of the ante-text. The study regards the ante-text as the story whose telling has been supplanted by the Video Jockey's narration in what becomes the adaptation. For analysis, the study uses two Firimu Enjogerere texts by Video Jockey Kizito Tabula Ssalongo A.K.A. VJ Jingo namely: Baz Lurhmann's Romeo+Juliet (1996) and Victor Salva's thriller Dark House (2014). The study relies on the work of African oral literature scholar Ruth Finnegan to demonstrate that these two adaptations are indeed works of orature. In the notion that orature is not confined to traditional forms alone the study finds support in the view of scholars Russell Kaschula and Andre Mostert (2011) that orature has merged or embraced modem technology in its nature and dissemination. (I) As regards adaptation the dissertation deploys the theories of a number of film adaptation scholars. Kamilla Elliot (2003) who believes that the content of a text can split from its form to emerge in another form and suggests that images. like words. are translatable proposes six configurations in which a source text can manifest in its adaptation. The study mainly utilizes two of these namely; the trumping and ventriloquist modes of adaptation and bases on them to describe the way VJ Jingo supplants and alters the elements in his adaptation of Baz Lurhmann's Romeo+Juliet (1996). Additionally Kamilla Elliot's concept of a pychic mode of adaptation is used to describe the way VJ Jingo captures what can be described as the spirit of Victor Salva' s Dark House (2014). The study also appropriates Thomas Leitch's description of a curatorial adaptation in the analysis of V 1 Jingo's rendering of Victor Salva's Dark House (2014 ). The study also incorporates the typology and nomenclature of Gerard Gennette's trans textuality as well as Robert Starn ·s (2000) view of adaptation as a conversation between two texts in his "Dialogies of adaptation" (54 to 75). to describe the phenomenon of hybridity in Firimu Enjogerere.
A marxist critique of the presentation of the theme of salvation in three selected plays
(Kyambogo University [unpublished work], 2018-11) Kotaki, George William Kutosi
This study is a Marxist critique of the presentation of the theme of Salvation, in David Mulwa, Bernard Shaw, and Ngugi wa Thiong'o and Ngugi wa Mirii plays: Redemption, Major Barbara and I Will Marry When I Want respectively. The researcher used a qualitative research methodology of description linguistics to analyse all situations in Marxist terms and to show how the Marxist theory entrenched in the playwrights the will to voice their own feelings about injustices. The available literature on the theme of salvation, life and criticism of the dramatists was reviewed. The researcher proceeded to examine the Marxist overtones in the plays and proceeded with a comparative analysis of the Marxist statements on the theme of salvation in the plays. The study discovered that each dramatist had a unique recipe for the full attainment of salvation. Bernard Shaw fully embraced the Marxist metaphor of the 'economic substructure' and thus negating the supremacy of 'spirituality'. Similarly, the Ngugis, in I Will Marry When I Want, totally dismissed the relevance of 'spirituality' to salvation the wellbeing of the human being) and depicted spirituality as a ploy to rob people of their property. This, in effect rhymes with Marx view that Religion is the 'opium of the masses'. Mulwa on the other hand, reconciles 'materiality' with 'spirituality'. The study has established that humanity cannot attain true salvation by relying solely on either 'materiality' or 'spirituality' but both. It was concluded that, David Mulwa offers a more convincing Marxist view on the theme of salvation.
A critical analysis of images of women and gender roles in Ankole proverbs and folktales
(Kyambogo University (un published work), 2019-10) Nantare, Hadija
The study critically analyses the image of women and gender roles in Ankole proverbs and folktales. The study was guided by three objectives: the stylistic aspects of the paralinguistic features in performance of Ankole folktales and proverbs; the image of women in Ankole proverbs, and the portrayal of gender roles in Ankole proverbs and folktales. The study was both field and library-based, employing a qualitative approach. The study used sociological and performance theories to analyze data. The major tenet of the sociological theory is that literature is a reflective-mirror of society and social realities. As such, the images of women and gender roles depicted in the proverbs and folktales are a true reflection of people’s perceptions of women in Ankole society. The study notes that performance is a very important ingredient in the appreciation, preservation and transmission of folktales and proverbs. Folktales are seen as a source of entertainment and a medium of instruction that enhances the young children’s learning of the cultural values, customs and norms of their society. Folktales have special opening and closing formulae, and the closing style of Ankole folktales depends on the group of the Banyankole, and the ending of each group reflects its economic activities. The study findings reveal that women are portrayed as children, dim-wits, murderers, evil, unreliable, untrustworthy, and greedy. They are presented as trouble-rousers not only to themselves, but the entire community. They are capable of causing discord and division among the community members; they seem not to distinguish between good and bad. The study also shows that cultural roles in Ankole community are distributed according to gender. There is a clear distinction between roles performed by men and those performed by women in Ankole society. There is no swapping of roles, everyone does the assigned role and cannot be swapped even in time of emergence. And finally, the study recommends that curriculum designers of primary and secondary schools put emphasis on the integration of oral literature in the literature teaching syllabus to help preserve oral literature genres.
Classical elements and creative novelty in selected plays of Efua Sutherland, Ola Rotimi and Wole Soyinka
(Kyambogo University (un published work), 2019-11) Bamuturaki, Julius
This study analyzed classical elements and creative novelty in selected plays of Efua Sutherland, Ola Rotimi and Wole Soyinka through a cross-reference to the selected drama of Euripides and Sophocles. The study was guided by three objectives, namely: the underlying classical themes and ideas, literary style and creative novelty in the selected plays. The study was library-based, involving a close reading and analysis of both primary and secondary sources of data through which classical elements and creative in the selected African drama was explained. The primary sources of data were three African plays, Efua Sutherland’s Edufa, Ola Rotimi’s The Gods Are Not to Blame and Wole Soyinka’s The Bacchae of Euripides: A Communion Rite. Secondary sources were got from book-reviews, articles, reports and journals, and this was supplemented by a close reading of three classical drama texts, namely Euripides’ Alcestis, The Bacchae and Sophocles’ King Oedipus. The New Historicism literary theory and central notions of intertextuality were used to critically analyse classical themes and ideas, the classical literary style adapted, and the authors’ creative novelty. The analyzed data was then organized into five chapters. The findings of the study reveal the influence of classical theories in the construction and production of the drama of Efua Sutherland, Ola Rotimi and Wole Soyinka. The classical themes include: fate versus freewill, sin and retribution, patriarchy, subjugation of women and misogyny, human suffering and the folly of pride. The classical literary style adapted include: use of the prologue, plot structure and characterization; the creative novelty includes changes in titles, characterization, Africanized themes and use of elements from the African oral tradition. The study recommends that future literary scholars should investigate the role of classical literature in promoting imperialistic agenda in Africa.
Genre and narrative in post lra "kwo jungle" music videos
(Kyambogo University (un published work), 2019-11) Ojara, Stephen
This study examined the music video phenomenon of Kwo Jungle through the lens of a genre approach. Kwo Jungle refers to a colloquial coinage of the English word jungle and the Acoli Kwo which means Life. It denotes survival of the fittest in a rough social-economic terrain. Locally it was derived from the tenets of the insurgency and is mostly exhibited in youth within townships. The study was based on music videos and songs of artists from northern Uganda produced after the LRA insurgency. The concept was subsequently adapted into mainstream aesthetics came to embody the trauma of the war as a conveyor of societal issues and, as a transformative metaphoric vehicle for emotional recovery and psychological healing from trauma of the LRA insurgency. The first chapter discussed the introduction including background data and, identified the research problem as well as the specific objectives. The significance of the study outlined the potential use of the information discovered and the general scholarly contribution it made to the knowledge on Kwo Jungle music videos. While the theoretical framework examined the study through the modus operandi of postmodernism. The study explored the time band, content width and geographical boundary in form of the scope and the literature review examined and identified existing gaps within the selected field of study. Finally, the hypothesis guided the study through the objectives and the methodology provided a detailed description of how the research was conducted. Chapter two explored the sources of expression, examined style and form of Kwo Jungle as well as the major themes. Chapter three oscillated between the myriad of patterns and variations exhibited within the genres of Afro beat, Hip hop and Reggae. While chapter four focused on how the songs reverberated from distinctive northern Uganda entertainment, to emotional and trauma therapy. The last chapter concluded with the analysis, observations and recommendations.
Reconstructing the meaning of Stella Nyanzi’s literary language on facebook
(Kyambogo University (un published work), 2019-11) Tibakuno, George
This study unravels the literariness of Stella Nyanzi‘s language in her Facebook posts to debunk the view held by some critics that Nyanzi is vulgar. The study was guided by three objectives: Stella Nyanzi‘s use of sexual allegories in her Facebook posts to portray poor governance; her use of satirical elements and juxtaposition to attack poor leadership, and the use of buttocks and genitalia metaphors to expose the weaknesses of leaders. The study was library-based and employed qualitative methods of data collection and analysis such close reading and documentary review. The study draws from the formalism literary theory to analyse the language of Stella Nyanzi‘s Facebook posts, and how they effectively depict poor governance. The findings of the study show that Stella Nyanzi uses sexual allegories to expose corruption, poverty, overstay in power, police brutality, dictatorship, and unfulfilled promises that those in power make; it shows how she interweaves the satirical elements with graphic descriptions of sex activity to defamiliarise familiar vices such as corruption, hypocrisy and inequality in Uganda. The study also examines Nyanzi‘s use of Juxtaposition to show how she uses it to contrast dissimilar items to put out her message. The study concludes that Stella Nyanzi effectively uses literary language to defamiliarise what has always been familiar and ingeniously presents strong issues associated with leadership and governance such as corruption, dictatorship and brutality in a rather peculiar way. Finally, the study recommends a connotative reading of Stella Nyanzi‘s Facebook posts to fully understand her message on Uganda‘s state of leadership and governance.
The role of Acoli proverbs and folktales in conflict resolution among the Acoli in northern Uganda
(Kyambogo University (un published work), 2019-11) Aciro, Betty
The study examines the role of Acoli folktales and proverbs in conflict resolution among the Acoli of northern Uganda.The general objective of the study was to analyze the role of Acoli folktales and proverbs in conflict resolution. This was achieved through a content analysis of sampled Acoli proverbs and folktales randomly selected with particular reference to the themes of greed, deception, laziness, pride, disobedient, theft and betrayal. In Chapter One the researcher highlights the nature of the study, the historical background of the Acoli society, the nature and performance of Acoli folktales, problem statement, and the scope of the study. Layout the objectives and research questions. Review of some Literature related to the objectives of the study and analysed the general functions of folktales. In addition, the methodology employed is also presented. Chapter Two focuses on the discussion of the role of folktales and proverbs at interpersonal level.while Chapter Three examines the role of Acoli folktales and proverbs at domestic level. In the Forth Chapter, the discussion focuses on the role of proverbs and folktales in conflict resolution at community/ national level. The last Chapter of the dissertation summarises the salient findings of the studies in the preceeding chapters. The findings indicates that among the Acoli, most families and communities used proverbs for passing moral values such as instilling discipline, reconciliation, entertainment, enhancing spirit of love and matual understanding, corrective purpose,encouragement, precautionary purposes and future reference of a particular tradition. Like every other traditional society, the traditional Acoli community has maintained solidarity of the group, and the unconscious acceptance of traditional codes expressed and encoded in their proverbs and folktales to ascertain peaceful living in the family and the community. The study revealed that proverbs and folktales are indeed vital in relationship management. It avers that a community with good understanding of folktales and proverbs and their implications in conflict resolution would appreciate conflicts as an intricate part of existence and harmonious living and would therefore avoid actions and in actions that would promote violence.
A psychoanalytic reading of two Hollywood films, Hotel Rwanda (Terry George:2004) and queen of Katwe (Mira Nair:2016)
(Kyambogo University(Unpublished work), 2020-12) Jakuma, Mike
Using Psychoanalytic film theory, this study investigates the two films made by Hollywood about Africa. These films are Hotel Rwanda (Terry George: 2004, and Queen of Katwe (Mira Nair: 2016). The study examines the Hollywood gaze of Africa in the two African-themed films, the gaze in these two films focuses on the prevailing calamities as spectacles that are featured in the movies screened. The spectacle of detail analysed is the humanitarian crisis cast on the screen that is devoured by the audience. The study examines the fact that when film industries like Hollywood choose what to cast or not to cast, they are, in fact arraying gazes. The arrangement of gazes has been read as representation, which is an act of selecting from reality to project or show. This study argued that when putting together a representation, things, are not presented as they are because of the dictation of the writer’s psyche in the movies that the audience watch. This is done to appeal to several possible pleasures of film spectators. Further still, this research explores the idea of film and fetishism. This idea focuses on a discussion of Hollywood's presentation of the fetish of the other and commodity fetishism as an aspect in Hotel Rwanda (2004) and Queen of Katwe (2016). The fetish notion in this study dwells on the argument done by several scholars’ like Laura Mulvey (2000), Tim Dant (1996), Susan Hayward (2001), who define the term fetishism as a relative quality of desire and fascination for an object that is not intrinsic but is nonetheless part of it. Concerning this research, the two movies Hotel Rwanda (2004) and Queen of Katwe (2016) were viewed as classic examples of objects with very low production value, but with high fetish value that is created by the Hollywood model of filmmaking. The study examines how this mode of filmmaking attaches to these films a high market value through advertising, packaging, personal approval, and recommendation. Hence making the films and the messages portrayed as fetish objects of desire to be revered by audiences for high market return.
Discontents of adaption in Hollywood Jesus films
(Kyambogo University [ Unpublished work], 2021) Atukunda, Gilbert
This study examined how Hollywood Jesus films adapt Jesus and the biblical records into motion pictures and the intricacies of transforming the Bible; a sacred written text to many into a cinematic version. The study was inspired by the films’ persistent claim to biblical and historical accuracy which has placed them beyond question and have ultimately been used as reliable mediums of references to biblical truth on one hand, and evangelism tools on the other. Five Jesus films; The King of Kings (1927), Jesus Christ Superstar (1973), Jesus of Nazareth (1977), The Passion of Christ (2004), and Killing Jesus (2015) were purposively selected from different periods ranging from the silent era of the 1820s to the 21st-century high definition 3D motion pictures to facilitate a holistic analysis from differentiated perspectives. Using document analysis, the films were analyzed in comparison with the Bible primarily the gospels to evaluate and validate claims of biblical authenticity, through critical reading, interpretation, and analysis of the literary and cinematic forms of gospel representations. The undertaking was informed by Jacques Derrida’s (1967) deconstruction theory under the premise that there is no single meaning to a text rather various interpretations and viewpoints of different readers. Findings of the study suggested that Jesus film adaptations are fictional re-enactments and watching them expecting to realize a comprehensive understanding of the Bible is a blunder. The adaptations were found to be unfaithful to the Bible due to the formal difference between the literary and cinematic forms and the limitations of changing words into images. Chapter one of the study provided the background on the historical relationship between the Bible, Jesus film adaptations, and the interplay between the two forms of expression. It highlighted Hollywood’s interest in classical texts including the Bible. Consequently, it provided the statement of the problem, literature review, research questions, and significance of the study. Chapter two investigated the distinct nature of the biblical Jesus and Hollywood Jesuses while chapter three examined the challenges and limitations of transforming the Bible into film. Chapter four unpacked the implication of Jesus films on the Christion doctrine while chapter five synthesized the findings of the study and suggested some recommendations.
Articulating the unpalatable truth playfully : didacticism of governance elements in uganda popular music of Mathias Walukagga and Ronald Mayinja
(Kyambogo University [ Unpublished work], 2021-05) Bodio, Shakira
This study aimed to establish the role of popular music in political education by using a case study of Ugandan popular music by Mathias Walukagga and Ronald Mayinja. It was conducted under three specific objectives namely; (i) to examine the theme of accountability in Uganda’s governance in the songs of Mathias Walukaga and Ronald Mayinja. (ii) to examine the theme of transparency in Uganda’s governance in the songs of Mathias Walukaga and Ronald Mayinja and (iii) to examine the theme of citizen participation in Uganda’s governance in the songs of Mathias Walukaga and Ronald Mayinja. The study employed a sociological literary theory that relates a piece of writing to the society of its author. The study findings indicated that indeed popular music shares information about governance elements; accountability, transparency and citizen participation playfully. The study also examined the figurative language such as metaphors, similes, allusions, irony, and other poetic properties using dramatization, costumes and histrionics. Hence popular music is the best way of educating the masses about political realities in their country. Based on the findings, the researcher recommended in the absence of the platform for civic education, popular music should be be given maximum support by the government of Uganda to reach every citizen just like universal education.
Textual analysis of social dynamics in selected Ankole myths and folktales
(Kyambogo University, 2021-06) Twasiima, Rodgers
The study examines the social dynamics in Ankole oral narratives specifically myths and folktales. The research gap that this study addresses arises from the fact that none of the previous studies has examined the philosophy that underpins the sociology-cultural and economic development of the Banyankole as reflected in their oral narratives. The study is library and field research based. It applies qualitative methods of data collection and analysis. Libraries provide the reading materials in form of books, journal articles and periodicals. These materials provide for this research the theoretical basis needed for the interpretation of data. Field research forms the biggest portion of this study since it is the source of primary data. Data collected from the field using observation, interview guide and focus group discussion is transcribed, translated into English, classified and analyzed using the Marxist literary theory’s tenets of economic base and superstructure of any given society. The study aims at establishing the characters’ perception and exercise of power and leadership. The findings of the study reveal that acquisition of wealth is a prerequisite to ownership of power. This wealth is measured by accumulation of many heads of cattle. While examining the economic activities and the production relations between bahima and bairu, the study reveals that there is innate love for cattle and every new generation that comes is determined to keep the tradition of cattle keeping. As well, crop farming is an essential activity which is cuurently carried out alongside cattle keeping. The two activities have boosted the economic base of Ankole people. The study also examines ethnic stereotyping of the characters portrayed in folktales. The findings reveal that the bairu and bahima still live an antagonistic relationship characterized by different stereotypes against each other. Each group identifies itself with particular characteristics and hence it becomes hard for the two groups to freely mingle.
Dialectical performance of Uganda's political landscape: a study of the songs of selected Ugandan artists
(Kyambogo University(Unpublished work), 2021-06) Nantale, Ruckia
This study explores the dialectical performance of Uganda’s political landscape in songs of selected artists. It examines the songs produced between 2011-2018 a period when Uganda is under the leadership of the National resistance movement (NRM) government. The study is guided by three objectives; the themes embedded in the songs critical of government and those in praise of government, the figurative language employed in the songs and the performance of the songs. The study is library based and employs qualitative methods of data collection and analysis. It employs Marxist literary theory’s tenet of dialectical criticism to analyze the songs from selected Ugandan artists and how they controversially portray Uganda’s political landscape. The findings of the study show that the themes of songs critical of government include corruption, social injustice, erosion of rule of law and the need for civic engagement, while the themes in songs in praise of government are provision of security, provision of adequate Education and health care, women empowerment and economic stability. The study also examines the figurative language used in the songs such as metaphors, symbolism, irony, repetition, refrain and the use of opening statements. The study asserts that artist critical of government use figurative language more emphatically than artist in praise of government. The purpose is to defarmiliarise the ills of the regime so that the audience’s perception about them is renewed. The study also analyses the performance of songs. It focuses on elements such as costume, histrionics and dramatization. The study asserts that songs critical of government have more aesthetic success in employing the elements of performance than the songs in praise of government. The purpose is to enhance their messages and clearly portray the ills of the government.
The representation of women in selected Ugandan Films: prioritising the positive category
(Kyambogo University, 2021-08) Zawedde, Joanitah
The depiction of women in film has been an area of concern to various researchers across the globe. Demeaning and complimentary images have been discussed, but this has been done by prioritizing one side over another by a particular scholar. The demeaning side has been studied more because it has always surfaced in film despite the changing trends in gender roles. This dissertation investigates how five Ugandan films, namely, Ngudde mu Nsobi, Super Glue, Omukyala (Struggle of a Mother), Zalwango, and Struggle portray the different categories of a woman. To stand better chances of analysing the different categories of women represented in selected films, this study has employed the post-structural feminism theory which gives a great understanding of gender, power and discourse. The objective of analysing the representation of various categories of women in Ugandan film. The findings of the study highlight clear depictions of women in Ugandan film showing their roles, how they are perceived by society and what they actually are, considering the drastic changes in their lives. The research has also explained the justifications for the different categories of women in film. The study recommends more involvement of women in film making since this will give them chance to better their representation. Film makers are called upon to make further research into the changing trends of women’s lives in contemporary society to sincerely reflect them in film. Also, Ugandan film makers are advised to borrow a leaf from international film makers who are now giving women a better representation in their films. Films should base on the true happenings of women in society in order to present them rightly.

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