Masters Degree Dissertations

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The aesthetics of Ugandan literature: a study of selected works
(Kyambogo University [unpublished work], 2023-06) Nannyonjo, Juliet
This study set out to critically explore the Aesthetics of Ugandan Prose Fiction in selected literary works, such as Timothy Wangusa’s Upon this Mountain, Violet Barungi’s Cassandra, Mary Karooro Okurut’s Milking a Lioness and Goretti Kyomuhendo’s The First Daughter. The study focused on the critical analysis of the ‘artistic properties’ of each of the selected works that endear them to the reading public in Uganda, and beyond—how, as Munro puts it, “the art has impacted on peoples’ moods, beliefs, and attitude towards life” (Munro, 2). The study set out with three objectives, namely: to apply the African aesthetic principles in the critical appreciation of the selected works; to apply Western aesthetic principles in the analysis of selected works; and to draw conclusions from the aesthetics of the selected works. The study employed the documentary analysis method which belongs to a qualitative research design. This involved a close-reading of both primary and secondary sources of data. In the application of both African and western aesthetic principles to analyze the aesthetics of the selected Ugandan literary works, it was discovered that the selected authors, Kyomuhendo, Wangusa and Karooro used a mixture of African and Western aesthetic principles. Barungi, on the other hand, adroitly and religiously stuck to western principles in language and style. Nevertheless, Barungi’s novel has allusions and themes that are typically Ugandan and African. The study concludes that the charm of the four selected Ugandan fictional works sprung from aesthetic dualism: the writers used both African and western aspects of beauty that enabled the selected Uganda fiction succeed in being a page turner. Finally, the study recommends the inclusion of aestheticism as a core component of literary theory and criticism given its remarkable influence on African literary production, among others.
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(Kyambogo University [ Unpublished work], 2021-05) Bodio, Shakira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.
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.
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 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.
A Comparative study of gender portrayal in Selected African male and female authored novels
(Kyambogo University [unpublished work], 2023-05) Awor, Bridget
This study is a comparative analysis of the portrayal of gender in selected African male and female-authored literary works, namely, Oyono’s Houseboy, Ocwinyo’s Footprints of the Outsider, Kyomuhendo’s The First Daughter, Karooro’s The Invisible Weevil and Sinyangwe’s A Cowrie of Hope. The study was guided by three objectives: to examine the gender stereotypes in the selected literary works; to analyse the objectification of women in the selected literary works; and to investigate the effectiveness of the language used in the portrayal of both male and female characters in the selected literary texts. The study hypothesizes that both male and female genders are susceptible to stereotypical representation in African literary works. The study was purely qualitative and library-based that involved a close reading of both primary and secondary sources of data. The Marxist feminist literary perspective was used to anchor the critical analysis of the representation of gender in the selected literary works. The analysed data was then organized into four chapters. The findings of the study reveal that gender misrepresentation is a dominant theme in the selected African literary works authored by both males and females, and that this misrepresentation manifests itself in gender stereotypes by both male and female authors. According to the selected male African authors, besides Sinyangwe (2000), women are portrayed as the weaker sex, materialistic, witches and dependent beings, while men are presented as strong, industrious and responsible beings. Although female writers portray female characters as brave and intelligent, their portrayal of men is rather scornful—men are lustful, chauvinistic, callous and violent. Regarding the objectification of women, women are presented as sex objects and material objects—men’s property; and regarding the use of language in the selected literary works, there is predominant use of sexist language that perpetrates subjugation of both genders depending on the sex of the author. Finally, the study recommends that gender scholars and activists should employ a variety of lenses in the analysis of gender representation for purposes of gender equity and balance.
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.
A critical study of selected bamasaaba marriage songs
(Kyambogo University [unpublished work], 2023-10) Tusaba, Philly
The study investigates the literariness of selected Bamasaaba Marriage Songs in Namunsi Sub-county, Mbale district. The study was guided by three objectives which include: examination of the moral underpinnings of the Bamasaaba marriage songs; examining the aesthetic value of the selected Bamasaaba marriage songs; and analysis of the aesthetic value of Bamasaaba marriage songs. Aware that stability in a marriage requires a stable mental state, among others, the study was anchored on the psychoanalytic literary theory to analyse the selected traditional marriage songs. Both fieldwork and library-based research methodologies were used to garner both primary and secondary data—articles, textbooks, journals, newspapers and interviews form the major sources of the data used in the study. The researcher also supplemented with some interviews where data collected from respondents, such as, opinion leaders, married couples and youths had to align with what was in the field. A qualitative research approach was adopted where themes derived from the study objectives guided the analysis. The study findings revealed that traditional marriage songs were important in fostering marriage stability by offering guidance on marriages among the Bamasaaba through the promotion and preservation of moral, therapeutic and aesthetic values. However, it was discovered that little was being done by the elders and cultural leaders in teaching children traditional marriage songs, as the responsibility for teaching these songs heavily depended on schools. Finally, the study recommends that elders get time to teach children the traditional marriage songs since they play an integral role in the stability of marriages, among others. Parents should take time to teach their children traditional marriage songs which instill morals and prepare young couples for their marriage. Local producers and composers should produce and store traditional marriage songs so that they can be accessed anytime and anywhere.
A critical study of the literariness of bamasaba circumcision rituals
(Kyambogo University [unpublished work], 2022-06) Muyama, Janet Mugisha
This study explored the literariness of Bamasaaba circumcision rituals and songs. It analysed the performance symbols of the rituals and the literary language of the circumcision songs. The study was field based and used qualitative methods of data collection and analysis. It employed formalism literary theory to analyse the performance symbols of circumcision rituals and literary language of the songs. The findings depict Bamasaaba circumcision rituals as an exhibition of the society’s innermost values and norms such as society’s expectations of a man. It was also found out that the literary language employed in the songs contributes to the understanding of the people’s experiences, values and norms. The circumcision rituals are performed for cultural reasons. They are performed to ensure continuity of the Bamasaaba traditional norms and values. The study therefore concludes that Bamasaaba circumcision rituals plays not only the easthetic but also a didactic role of transfering the society’s values and norms to the young generation. These rituals should not therefore be perceived as evil and scary because if one critically analyses their symbolic meaning, one realizes that they are worth it. The actual circumcision without the rituals is meaningless and for that reason one can not be considered a complete man among the Bamasaaba.
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.
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.
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.
A dialectical representation of the de jury and de facto leaders in four of Shakespeare’s political plays
(Kyambogo University [unpublished work], 2023-10) Achan, Pamella
This study is a critical examination of the dialectical representation of the concepts of De Jury and De Facto leaderships in four of William Shakespeare’s political plays, namely, Macbeth, Richard II, Henry IV, Part 1 and Henry IV, Part 2. The study had a threefold objective: to examine the dialectical representation of the De Jury leadership/kings in four of Shakespeare’s political plays; to explore the dialectical representation of the De Facto leadership/kings in four of Shakespeare’s political plays; and to draw the lessons from the dialectical representation of both De Jury and De Facto leadership in the four political plays of William Shakespeare. The study was majorly library-based and applied qualitative approaches, such as critical analysis of both primary and secondary sources of data were employed to decipher the dialectical representation of both De Jury and De Factor leadership in the aforementioned political plays of William Shakespeare. The study drew on from Jacques Derrida’s deconstructionist literary theory which involved a polemic reading of the four political plays in the critical examination of Shakespeare’s representation of both De Jury and Defacto leadership. The findings of the study showed that both De Jury and De Facto leaderships have both strengths and weaknesses. In the two leadership modes, ‘performance’ and ‘legitimacy’ are essential qualities for successful leadership. Hence, of the two methods of acquiring and maintaining power, the dejury and the defacto style of leadership are complimentary. Finally, the study recommended that future literary scholars should examine the place of the Shakespearean “Histories”—political plays/drama—in the discourse of Twenty-First Century global politics and governance, since they espouse pertinent issues on politics and leadership that keep to be reflected in the contemporary global world.
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.
Examining female circumcision among the sabinys from an oral literature’s perspective
(Kyambogo University [unpublished work], 2023-03) Chebet, Norah
The study examined female circumcision among the Sabiny from an Oral literature perspective. The objectives of the study were; to examine how the Sabiny myths illustrate the centrality of female circumcision, to analyze how Sebei oral poetry glorifies and justifies the circumcision of girls and women and to find out how rituals facilitate the thinking that everything Sabiny girls and women need to know about their culture is through circumcision. The population of study was gotten from people of the communities of Kapchorwa, Kween and Bukwo districts and it comprised of both Sabiny males and females aged 15 years and above, local surgeons and representatives of community Based Organizations. The study employed an exploratory qualitative research design. This design was used because little or nothing has been studied in relation to how important oral literature is in cementing the process of female circumcision in Sebei Sub region, thus filling the gap. Being a literature research, qualitative approach was used. Data was collected using Focus Group Discussion (FGD‟s) and Interviews. The findings indicated that Sabiny myths are a core and central in issues of female circumcision. Sebei oral poetry not only glorifies but also justifies the circumcision of girls and women in areas of instilling courage, the feel of identity, pride, rewarding the initiates and asserting the compulsoriness of FGC. It further found that there are a number of rituals performed on candidates throughout the circumcision process. It is these rituals that facilitate the thinking that Sabiny women and girls need to be circumcised if they should know anything about themselves and their culture. The myths continue to guide and shape the Sabiny women and girls in their day-to-day life. The Sabiny poems /songs have ethical and aesthetic aspects of the tribe in their meaning and performance and so still remain important and of value to people. Thus, they can still be used to glorify other aspects of tradition in general in areas of soothing the gods and ancestors on matters related to life, identity as a tribe, honor and continuity of culture.
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.
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.
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 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.

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