African Language Studies
Folktales, Sociolinguistics, Riddles, Land, Cattle & Literature
Module: African Language Studies
Institution: University of South Africa (UNISA)
Language: English (Academic)
Year: 2026
Citation Style: APA 7th Edition
“Literature helps us think more deeply by increasing our knowledge of not
only our own values and worldview but also those of people around the
world and throughout history.”
,UNISA | African Language Studies Communication, Sociolinguistics & Literature
Contents
Section A: Oral Literature and Communication 3
1.1 The Communicator’s Pattern in Folktale Narration . . . . . . . . . . . . . . . . . . 3
1.2 Language as a Tool of Power in Media and Political Speeches . . . . . . . . . . . . 5
1.3 Pitch, Intonation, Gesture and Pauses in Narration . . . . . . . . . . . . . . . . . . 7
Section B: Riddles and Cultural Values 10
2. Riddles as Cultural Representations . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Section C: Land, Cattle, and Inheritance 13
3. Land: Economic Value and Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . 13
4. Cattle, Leadership, and Royal Succession . . . . . . . . . . . . . . . . . . . . . . . . 14
Section D: Literature and Storytelling 17
5.1 Definition of a Short Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.2 Elements of a Short Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.3 Five Characteristics of the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Reference List 20
Page 2 of 20
, UNISA | African Language Studies Communication, Sociolinguistics & Literature
SECTION A: ORAL LITERATURE AND COMMUNICATION
Question 1.1 — The Communicator’s Pattern in Folktale Narration
1.1.1 Introduction
In oral traditions, the communicator, that is the person who narrates a folktale, does not sim-
ply tell a story. They follow a recognisable and culturally specific pattern that governs how the
tale unfolds, how the audience is engaged, and how meaning is communicated. This pattern is
shaped by convention, performance, and the social function of oral literature. Using the Zulu
folktale Unanana-Bosele (the story of the woman and the elephant), this discussion examines
the structural and performative pattern a communicator follows when narrating a folktale.
Key Distinction
The communicator is distinct from the narrator in a literary sense. In oral tradition,
the communicator is a living performer whose body, voice, and relationship with the
audience are all part of the message.
1.1.2 The Opening Convention
A folktale communicator never simply begins. There is a formulaic opening that signals to the
community that a folktale is about to be told and invites their participation. This call-and-
response establishes a social contract between communicator and audience (Scheub, 1975).
In Unanana-Bosele, the communicator opens with a culturally recognised call such as "Kwa-
sukasukela!" (Once upon a time), and the audience responds affirmatively. This is not decora-
tion. It marks a shift from everyday speech into a sacred performative space (Finnegan, 2012).
• The opening formula establishes the fictional frame.
• It signals genre: the community knows a folktale is beginning, not a legend or historical
account.
• It activates communal memory, since audiences often know the story and are evaluating the
communicator’s skill.
Page 3 of 20
Folktales, Sociolinguistics, Riddles, Land, Cattle & Literature
Module: African Language Studies
Institution: University of South Africa (UNISA)
Language: English (Academic)
Year: 2026
Citation Style: APA 7th Edition
“Literature helps us think more deeply by increasing our knowledge of not
only our own values and worldview but also those of people around the
world and throughout history.”
,UNISA | African Language Studies Communication, Sociolinguistics & Literature
Contents
Section A: Oral Literature and Communication 3
1.1 The Communicator’s Pattern in Folktale Narration . . . . . . . . . . . . . . . . . . 3
1.2 Language as a Tool of Power in Media and Political Speeches . . . . . . . . . . . . 5
1.3 Pitch, Intonation, Gesture and Pauses in Narration . . . . . . . . . . . . . . . . . . 7
Section B: Riddles and Cultural Values 10
2. Riddles as Cultural Representations . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Section C: Land, Cattle, and Inheritance 13
3. Land: Economic Value and Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . 13
4. Cattle, Leadership, and Royal Succession . . . . . . . . . . . . . . . . . . . . . . . . 14
Section D: Literature and Storytelling 17
5.1 Definition of a Short Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.2 Elements of a Short Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.3 Five Characteristics of the Novel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Reference List 20
Page 2 of 20
, UNISA | African Language Studies Communication, Sociolinguistics & Literature
SECTION A: ORAL LITERATURE AND COMMUNICATION
Question 1.1 — The Communicator’s Pattern in Folktale Narration
1.1.1 Introduction
In oral traditions, the communicator, that is the person who narrates a folktale, does not sim-
ply tell a story. They follow a recognisable and culturally specific pattern that governs how the
tale unfolds, how the audience is engaged, and how meaning is communicated. This pattern is
shaped by convention, performance, and the social function of oral literature. Using the Zulu
folktale Unanana-Bosele (the story of the woman and the elephant), this discussion examines
the structural and performative pattern a communicator follows when narrating a folktale.
Key Distinction
The communicator is distinct from the narrator in a literary sense. In oral tradition,
the communicator is a living performer whose body, voice, and relationship with the
audience are all part of the message.
1.1.2 The Opening Convention
A folktale communicator never simply begins. There is a formulaic opening that signals to the
community that a folktale is about to be told and invites their participation. This call-and-
response establishes a social contract between communicator and audience (Scheub, 1975).
In Unanana-Bosele, the communicator opens with a culturally recognised call such as "Kwa-
sukasukela!" (Once upon a time), and the audience responds affirmatively. This is not decora-
tion. It marks a shift from everyday speech into a sacred performative space (Finnegan, 2012).
• The opening formula establishes the fictional frame.
• It signals genre: the community knows a folktale is beginning, not a legend or historical
account.
• It activates communal memory, since audiences often know the story and are evaluating the
communicator’s skill.
Page 3 of 20
