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Ditema tsa Dinoko (Sesotho for "Ditema syllabary"), also known as ditema tsa Sesotho, is a constructed writing system (specifically, a featural syllabary) for the siNtu or Southern Bantu languages (such as Sesotho, Setswana, IsiZulu, IsiXhosa, SiSwati, SiPhuthi, Xitsonga, EMakhuwa, ChiNgoni, SiLozi, ChiShona and Tshivenḓa).
There is a strong link between Sotho music and Sotho poetry. A Sesotho praise poet characteristically uses assonance and alliteration. Eloquence or ‘bokheleke’ is highly valued in the sotho culture and people who possess this skill are respected. The praise poetry (dithoko) is not a musical form but, it is incorporated in most Sesotho songs ...
Probably the most radical sound innovation in the Sotho–Tswana languages is that the Proto-Bantu prenasalized consonants have become simple stops and affricates. [2] Thus isiZulu words such as entabeni ('on the mountain'), impuphu ('flour'), ezinkulu ('the big ones'), ukulanda ('to fetch'), ukulamba ('to become hungry'), and ukuthenga ('to buy') are cognates to Sesotho [tʰɑbeŋ̩] thabeng ...
Sesotho ba Leboa/ Pulana South Africa Limpopo/ Mpumalanga Tau Lion Bammangwato, Barolong Barolong Setswana North West Tholo Kudu Mahikeng Basia Sesotho Katse Wild Cat Bakgatla Batau Sesotho ba Leboa South Africa Limpopo Tau Lion Bataung: Sesotho, Setswana, Sesotho sa Lebowa South Africa Tau Lion Bahurutshe Batawana Batswana Botswana Phuti Duiker
Like all other Bantu languages, Sesotho is an agglutinative language spoken conjunctively; however, like many Bantu languages it is written disjunctively. The difference lies in the characteristically European word division used for writing the language, in contrast with some Bantu languages such as the South African Nguni languages .
In Sesotho, nngwe is a variant (allomorph) of the adjective stem -ng used only for Class 9 nouns. The use of the number "one" in Sesotho is different from the other Sotho–Tswana languages, because the Sesotho -ng is an irregular enumerative which behaves sometimes like an adjective and can therefore become a noun.
So Boulané promises to do it. The next day, Thamaha delivers the boy to the crabs, and accepts his fate. The same fate falls on the crabs, which, before they die, lead the boy with the full moon to the hut of the merchants. A person from Boulane's village visits the merchants' hut and sees the boy with the full moon on his chest.
As Gary van Wyk (1993:84) pointed out in his analysis of the etymology of the Sesotho noun denoting "Sesotho mural art," litema also refers to the associated concepts of "ploughed lands", [2] and the decorative tradition is symbolically linked to cultivation in many ways.