Thematische Bibliographien / South African Protest poetry

Auswahl der wissenschaftlichen Literatur zum Thema „South African Protest poetry“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "South African Protest poetry"

D’Abdon, R. „RESISTANCE POETRY IN POST-APARTHEID SOUTH AFRICA: AN ANALYSIS OF THE POETIC WORKS AND CULTURAL ACTIVISM OF VANONI BILA“. Southern African Journal for Folklore Studies 24, Nr. 1 (30.09.2016): 98–121. http://dx.doi.org/10.25159/1016-8427/1675.

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The article explores selected works of Vonani Bila, one of the most influential wordsmiths of post-apartheid South Africa. It outlines the difference between “protest poetry” and “resistance poetry”, and contextualises the contemporary expression(s) of the latter within today’s South Africa’s poetry scene. Focusing on Bila’s “politically engaged” poems and cultural activism, this article maintains that resistance poetry has re-invented itself in the post-94 cultural scenario, and still represents a valid tool in the hands of poets to creatively expose and criticize the enduring contradictions of South African society

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Adelokun, Adetunji. „The Politics of Protest in the Post-Apartheid Poetry of Seitlhamo Motsapi and Mxolisi Nyezwa“. International Journal of English and Comparative Literary Studies 3, Nr. 2 (31.03.2022): 16–27. http://dx.doi.org/10.47631/ijecls.v3i2.414.

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This paper critically examines the manifestation of protest agitations in post-apartheid South African poetry. The paper considered the insightful reflections of two South African poets on the influence of the apartheid administration and other forms of racial profiling and segregation. It is pertinent to note that the paper does not only record the outburst of these writers against apartheid; the crux of the paper is channeled towards the exposition of the perspectives of the selected poets about the traumatic experience of apartheid and the obnoxious nature of the post-apartheid experience. One collection of poetry from Seitlhamo Motsapi and Mxolisi Nyezwa was selected for critical and literary analysis. The paper considers the expression of disaffection by writers in their portrayal of the struggles for socio-political sanity and socioeconomic equanimity after the dehumanizing apartheid regime. The paper posits that writers should continually engage the thesis of post-apartheid and evoke the consciousness of the masses to the nefarious realities of their circumstances. The paper concludes that Africans need to realize their distinctions and peculiarities by looking inwards and reflecting on new ways to chart a new course for future generations.

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Kalu Obasi, Kalu,. „Echo of Poesy in South Africa’s Politics: Form and Resistance in Dennis Brutus’ “Simple Lust” and “Letters to Martha”“. English Linguistics Research 6, Nr. 4 (27.11.2017): 25. http://dx.doi.org/10.5430/elr.v6n4p25.

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Apartheid in South Africa began in 1948 AD with the introduction of separatist rule that introduced draconian principles in government. This made formation of associations impossible. There was no free movement of the Blacks. Pass laws were imposed to prevent the Blacks from free movement. This approach brought protest among reasonable people of the World. Within the literary circle, protest literature ensued and emerged to join forces with organizations to clamp down on the draconian system operatives in South Africa. From the 1950s through the 60s and 80s witnessed a plethora of protest literature against the system of government in South Africa. This paper entitled “Echo of Poesy in South Africa Politics: Form and Resistance in Dennis Brutus’ Letters to Martha and A Simple Lust examined South Africa’s protest literature with particular reference to Dennis Brutus’s poetry of resistance showing the various circumstances which Dennis Brutus offers his poetry of resistance.

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Lombard, Daniël B. „The Manifestation of Religious Pluralism in Christian Izibongo“. Religion and Theology 6, Nr. 2 (1999): 168–93. http://dx.doi.org/10.1163/157430199x00128.

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AbstractThe article contributes to scholarly inquiry into religious pluralism in South Africa, in particular to how Christian doctrine interacts with the African worldview. Evidence for the intercultural and interreligious discourse is based on an analysis of a eulogy of Christ, created and performed in the traditional style of izibongo, or Zulu praise poetry. The conclusion is drawn that the eulogy is a manifestation of vigorous interreligious dynamics, showing that Christianity and izibongo are both remarkably protean in their potential for creative interaction. Christianity is embraced, but simultaneously transformed by the indigenous genre; praise poetry can assert its traditional style, but itself becomes transmuted by Christian doctrine.

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Chidi, Tsosheletso, Nompumelelo Zondi und Gabi Mkhize. „Comparative analysis of black queer feminist isiXhosa and English poetry“. Tydskrif vir Letterkunde 61, Nr. 1 (26.06.2024): 81–89. http://dx.doi.org/10.17159/tl.v61i1.16060.

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Black queer feminist literature remains under-researched. This reflects the societal marginalisation of black queer authors in South Africa. Our article offers a comparative analysis of the representation of black queer women by black queer and cisgender authors in selected isiXhosa and English poetry. The poems selected are from Unam Wena (2021) by Mthunzikazi Mbungwana and red cotton (2018) by vangile gantsho. Firstly, we explore how queer feminism is captured from a Xhosa perspective. Secondly, we explore how English is used to expose readers to black queerness, and, thirdly, we question how literary scholarship influences or limits black queer feminist literature and the functionality of queer feminist poetry as representations of black women. Discourse theory is used to examine how authors of the selected poetry construct knowledge about black queerness from a feminist perspective and shape how people understand it. In this article we adopt a narrative enquiry within the constructionism paradigm with qualitative textual analysis. Our analysis of the poetry reveals that, although the selected poets use two different languages, the same protest voice is foregrounded, with observable differences being primarily technical—namely how form, sound, and structure are employed to set the tone and mood in the issues addressed.

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Zondi, N., und N. Canonici. „Protest against social inequalities in B.W. Vilakazi’s poem 'Ngoba ... sewuthi' ('Because ... you now say')“. Literator 26, Nr. 1 (31.07.2005): 83–100. http://dx.doi.org/10.4102/lit.v26i1.220.

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Long before the National Party institutionalised apartheid in 1948, individuals and organisations tried to highlight the injustices of the colonial capitalist system in South Africa, but, as Lodge (1983:6) puts it, “it all ended in speeches”. This article seeks to demonstrate how Benedict Wallet Vilakazi effectively broke the silence by bringing the plight of the black masses to the attention of the world. He strongly protested against the enslavement of black labourers, especially in the gold and diamond mines, that he depicts as responsible for the human, psychological and physical destruction of the black working classes. As a self-appointed spokesperson of the oppressed, he protested against the injustices through the medium of his poetry. One of his grave concerns was the fact that black workers had been reduced to a class with no name, no rights, practically with no life and no soul. The chosen poem “Ngoba … sewuthi” (Because … you now say) is thus representative of the poems in which B.W Vilakazi externalised his commitment to the well-being of the black workers, and his protest against the insensitivity of white employers.

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Sadaf und Dr. Sahar Rahman. „Representing Dissent through Poetry: A Study of Select Poems of Maya Angelou“. Creative Launcher 8, Nr. 3 (30.06.2023): 84–90. http://dx.doi.org/10.53032/tcl.2023.8.3.10.

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Literature in general and protest poetry in particular have been vocal about human condition and problems. This article examines Maya Angelou’s representation of dissent in selected poems, using the historical and socio-political context of her life as a lens. It analyses how Angelou’s work, including “Still I Rise,” “Caged Bird,” “Phenomenal Woman,” and some others, articulates resistance against racial, gender, and social inequalities. Through her powerful metaphors, repetitive phrases, and vivid imagery, Angelou defied societal norms and called for change. The study concludes by emphasizing Angelou’s enduring impact and legacy, not just in literature, but also in shaping civil rights discourse and inspiring social change. Her poetry exemplifies how art can be a potent instrument of protest. The article employs language for ‘writing back’, questioning norms, resisting atrocities and creating scope for change. Protest poetry, which is deeply embedded in American history, remains a prominent part of English literary corpus, contributing greatly to African American literature. The category of African American protest poetry is large owing to the huge expanse of time during which it has been written and also because of the great number of poets who have contributed to this form of writing. As a result, African American protest poetry is divided into three sub-categories– the first deals with protest during slavery, the second during segregation and Jim Crow Laws and the third after political obstacles to equality were presumably removed. This paper aims to deliberate on the following questions— what are the prominent themes of African American protest poetry? How have the African American poets used this genre of literature variously during different historical epochs? How are the concerns of female poets different from their male counterparts? What role has protest poetry played in political movements against inequality, social injustice, oppression, segregation etc.? The present paper aims to engage with this seemingly broad area of literature from the feminist and racial perspectives. The paper intends to deal with few important African American protest poets from foundational poets to the contemporary ones.

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Yakovenko, Iryna. „Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry“. Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, Nr. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.

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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.

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Aadnani, Rachid. „Beyond Raï: North African Protest Music and Poetry“. World Literature Today 80, Nr. 4 (2006): 21. http://dx.doi.org/10.2307/40159129.

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Jungin Jo. „Determinants of South African Protest Participation“. Ewha Journal of Social Sciences 33, Nr. 2 (Oktober 2017): 217–49. http://dx.doi.org/10.16935/ejss.2017.33.2.007.

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Dissertationen zum Thema "South African Protest poetry"

Karassellos, Michael Anthony. „Critical approaches to Soweto poetry : dilemmas in an emergent literature“. Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/18830.

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A review of contemporary South African and European critical approaches 'to "Soweto poetry" is undertaken to evaluate their efficacy in addressing the diverse and complex dynamics evident in the poetry. A wide selection of poetry from the 1970's and early 1980's is used to argue that none of the critical models provide an adequate methodology free from both pseudo-cultural or ideological assumptions, and "reader-grid"(imposition of external categories upon the poems).From this point of entry, three groups of critics with similar approaches are assessed in relation to Soweto poetry. The second chapter illustrates the deficiency in critical method- ology of the first group of critics, who rely on a politicizing approach. Their critique presupposes a coherent shift in the nature of Black Consciousness poetry in the 1970's, which is shown to be vague and problematic, especially when they attempt to categorize Soweto poetry into "consistently thematic" divisions. In the third chapter, it is argued that ideological approaches to Soweto poetry are impressionistic assessments that depend heavily on the subordination of aesthetic determinants to materialistic concerns. The critics in this second group draw a dubious distinction between bourgeois and "worker poetry" and ignore the inter- play between the two styles. Pluralized mergings within other epistemological spectrums are also ignored, showing an obsessive materialist bias. The fourth chapter examines the linguistic approach of the third group of critics. It is argued that they evaluate the poetry in terms of a defined critical terminology which assumes an established set of evaluative criteria exist. This is seen to be empiricist and deficient in wider social concerns. In the final chapter, it is submitted that each of the critical approaches examined foregrounds its own methodology, often ignoring the cohabitation of different systems of thought. In conclusion it is argued that a critical approach can only aspire to the formulation of a "black aesthetic" if it traces the mosaic of cultural borrowings, detours and connections that permeate Soweto poetry. Michel Serres, with his post-deconstructionist "approach", is presented as the closest aspirant. Bibliography: pages 117-123.

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Ringani, G. N. „Nxopaxopo wa vutlhokovetseri byo phofula bya J.M Magaisa“. Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1413.

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Thesis (M.A. (African Languages)) --University of Limpopo, 2014
The main aim of this study is to evaluate protest poetry in Mihloti (1981) and Xikolokolo nguvu ya Pitori (1987) by J.M. Magaisa with special references to theme, subject matter and the use of figures of speech.. Chapter 1 indicates the aim of the study, motivation, statement of the problem, research methodology, literature review and the key concepts which are used in this research. Chapter 2 explains the themes of the protest poetry in Magaisa’s poetry. In some explanation of the themes, some of the figures of speech have been used with the aim of making readers to understand his poetry. Chapter 3 indicates the modes of expression in Magaisa’ protest poetry. Some of the figures of speech and difficult terms have been explained in this chapter make people to understand them. Chapter 4 is the general conclusion which indicates the findings of the research and recommendations for further researches.
The University of Limpopo and C.S.D.

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Mona, Godfrey Vulindlela. „A century of IsiXhosa written poetry and the ideological contest in South Africa“. Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017892.

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The central argument of this inter-disciplinary study is that IsiXhosa written poetry of 1912 – 2012 is a terrain of the struggle between the contending dominant ideologies of Segregation, Apartheid and Charterism (post-Apartheid); and the subordinate/ subaltern ideologies of Africanism, Charterism (pre-democracy), Pan- Africanism, Black Consciousness Movement and other post Apartheid ideologies. The study highlights the mutual relationship between the text and the context by focussing on the ideological contest which manifests itself in both form and structure (i.e. aesthetic ideology) and the content (i.e. authorial ideology) of the poetry of different epochs between 1912 and 2012. The study is located within the framework of Antonio Gramsci’s theory of cultural construction. Gramsci postulates that ideology and culture play a significant role in the process of asserting hegemony. Important concepts that constitute Gramsci’s theory of praxis are: ideology, culture, hegemony, organic intellectuals and both ideological and repressive state apparatuses. The first chapter presents the problem, the objectives, the methodology, and the scope of the study. The second chapter presents Gramsci’s theory of cultural construction and the work of scholars who developed his theory further. The tool that is employed for analysis and interpretation of textual significations of IsiXhosa written poetry is the revolutionary aesthetics, which is proposed by Udenta. The third chapter analyses and interprets literature of the epoch of 1912-1934 and exposes the contest between Segregation and Africanism ideologies. The fourth chapter contextualises and analyses the literature of 1934 – 1948, the second phase of contestation between Segregation and Africanism. The fifth chapter deals with literature of the first and second halves of the Apartheid epoch (1948 - 1973). The Apartheid ideology contested with the Africanist ideology which transformed into the Charterism ideology in 1955. In 1960 Pan-Africanism ideology and in 1969 Black Consciousness Movement ideologies entered the contest. The sixth chapter examines literature of the period 1973 – 1994 which is the second phase of the Apartheid epoch that ends with the “glasnost” period of 1990 - 1994. The seventh chapter studies literature of the democracy period of 1994 – 2012. The eighth chapter is the summary and general conclusion. The illumination of the nexus between culture and ideology during the past century (1912 - 2012) will provide insights that will assist us in addressing the challenges we face during the democracy period, and in the development on Arts and Culture in general, and literature in particular

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Kenqu, Amanda Yolisa. „The black and its double : the crisis of self-representation in protest and ‘post’-protest black South African fiction“. Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020835.

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This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.

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Royeppen, Andrea Leigh. „How does security limit the right to protest? : a study examining the securitised response to protest in South Africa“. Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013071.

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In South Africa, the right to protest is under constant threat as a result of the state response. Increasing cases of forceful policing and sometimes unlawful procedural prohibitions of protest attest to this. This study aims to firstly describe this situation through securitisation theory, essentially arguing that South Africa has become a securitised state. It also aims to understand how this is sustained by the state and why the state needs to use a securitised response to maintain power. Interviews were conducted with members of different communities and organisations. Their responses helped to illustrate the frustration of the right to protest or brutal policing during a protest. This provided primary evidence to support the claims of the study. The research shows that claims to protest are being delegitimised under the guise of security as protestors are being constructed as threats to the state. This is further substantiated by looking at how the reorganisation and remililtarisation of the South African Police perpetuates the criminalisation of protestors which necessitates a forceful response from the state. Furthermore, it shows that there is a distinct relationship between the prohibition of protest and the recent increase in ‘violent’ protests which legitimate forceful policing thereby creating a state sustained cycle of violence. The larger implication of this treatment is that these protestors are treated as non- citizens who are definitively excluded from participating in governance. In understanding why this is taking place, it is clear that a securtitised response is an attempt to maintain power by dispelling any threats to power, a response which is seen to have a long history in the African National Congress (ANC) when examining the politics of the ANC during exile. Maintaining power in this way distracts from the larger agenda of the state, which this thesis argues, is to mask the unraveling of the ANC’s hegemony and inability to maintain national unity. In other words, the increasing dissatisfaction of some of the citizenry which has manifested through protest greatly undermines the legitimacy of the government to provide for its people.

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Lee, Daryl Robert. „A rival protest : the life and work of Richard Rive, a South African writer“. Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244217.

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Devereux, Stephen. „Post–exilic an old South African returns to the new South Africa“. University of Western Cape, 2020. http://hdl.handle.net/11394/7934.

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Magister Artium - MA
This portfolio of poems, prose poems and short fiction pieces is quasi-autobiographical and tracks the trajectory of my life, from childhood in Cape Town (‘pre-exilic’) to emigration abroad (‘exilic’) and return to Cape Town in late middle age (‘post-exilic’). Themes explored include the deceptive nature of memory and the risk of imbuing a childhood recollected in later life with affective or narrative nostalgia; the psychologically dislocating nature of exile on personal identity and notions of home; and Cape Town as both an imaginary construct and a multi-layered reality: specifically, ‘my’ Cape Town – now as well as half a century ago – and ‘other’ Cape Towns, reflecting a diversity of highly unequal experiences within this city. The dominant mode of expression chosen to explore these largely personal themes is confessional.

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MacDonald, T. Spreelin. „Steve Biko and Black Consciousness in Post-Apartheid South African Poetry“. Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273169552.

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Kaschula, Russell H. „The transitional role of the Xhosa oral poet in contemporary South African society“. Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002085.

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This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion

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Grant, Nicholas George. „"We shall win our freedoms together" : African Americans, South Africa and black international protest, 1945-1960“. Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/12750/.

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Focusing on the United States and South Africa from 1945 to 1960 this thesis examines how African American and black South Africans navigated internationally organised state repression during the Cold War. Through a close alliance based around shared anticommunist and white supremacist ideologies, the United States and South African governments sought to actively prevent black international criticism of their racial practices in this period. This work engages with and builds upon existing 'Cold War civil rights' historiography by individuals such as Mary L. Dudziak, Brenda Gayle Plummer and Thomas Borstelmann. Through extensive archival research in South Africa as well as the United States, it will provide a truly transnational account of how black activists and government forces in South Africa shaped Cold War discourses on race. This research also contributes to broader theoretical discussions relating to black international history. Through a gendered analysis of global black protest this thesis addresses historiographical gaps that have failed to account for the way in which specific constructions of black masculinity and femininity shaped black international solidarities. This thesis will argue that through carefully orchestrated international campaigns for racial justice, African Americans and black South Africans continued to place pressure on white governments throughout the height of anticommunist oppression during the early Cold War. While not wanting to downplay the damaging influence state repression had on the lives of African Americans and black South Africans, it will examine how black activists in both countries managed to maintain their political agency when operating in an increasingly hostile environment. By examining the considerable amount of time, money and effort invested into restricting black international protest, I will demonstrate how the U.S. and South African governments were forced to respond, reshape and occasionally reconsider their racial policies in the Cold War world. Whilst this did not result in the dismantling of apartheid, or immediately bring an end to U.S.-South African Cold War alliance, this determination of African Americans and black South Africans to protest globally provides a transnational example of how, to paraphrase Stuart Hall's famous phrase, hegemonizing was hard work.

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Bücher zum Thema "South African Protest poetry"

Brutus, Dennis. Poetry & protest: A Dennis Brutus reader. Scottsville, South Africa: University of KwaZulu-Natal Press, 2006.

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Williams, Brian. The wounded spear rises. Cape Town: Buchu Books, 1989.

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Marolen, Daniel P. P. Imagine a land--: A collection of Black anti-apartheid protest poems. Owings Mills, Md: Watermark Press, 1991.

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1973-, Schwartzman Adam, Hrsg. Ten South African poets. Manchester [England]: Carcanet, 1999.

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Cornwell, Gareth. South African English poets. Cape Town: Cape Provincial Library Service on behalf of the National English Literary Museum, Grahamstown, 1985.

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1974-, Kota Nosipho, Finaly Alan und Ngwenya Siphiwe Ka, Hrsg. Insight: Six South African poets. Polokwane [South Africa]: Timbila Poetry Project, 2003.

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Nghalaluma, Wisani. Throbbing ink: Six South African poets. Limpopo, South Africa: Timbila Poetry Project, 2003.

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Denyse, Smith, Hrsg. Book of protest, 1985. [S.l: s.n., 1985.

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Peters, Charles L. Down South poets. San Antonio, TX: C&K Collaborations Pub., 2000.

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Chapman, Michael. The paperback of South African English Poetry. Craighall sa: Paperbooks, 1986.

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Buchteile zum Thema "South African Protest poetry"

Ellis, R. J. „African-American Fiction and Poetry“. In A Companion to the Literature and Culture of the American South, 255–79. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch15.

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Atkin, Lara. „“The South African ‘Children of the Mist’”: The Bushman, the Highlander, and the Making of Colonial Identity in Thomas Pringle’s South African Poetry“. In Writing the South African San, 89–114. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86226-8_4.

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Nopece, Unathi. „Linguistic (and Non-linguistic) Influences on Urban Performance Poetry in South African Contemporary Youth Culture“. In African Youth Languages, 205–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64562-9_10.

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Tasseron, Michael. „Protest Images of the 2014 Gaza War in the South African Media“. In Political Campaigning and Communication, 279–97. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22782-0_13.

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Snyders, Hendrik. „South African Weightlifting, the International Sports Boycott and Artists and Athletes against Apartheid c. 1948–1990“. In Sport and Protest in the Black Atlantic, 49–81. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003320364-4.

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Drwal, Małgorzata. „The Hybridity of South African Working-Class Literature“. In Working-Class Literature(s) Volume II. Historical and International Perspectives, 165–208. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbf.g.

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In this chapter I present an overview of the most prominent trends in South African working-class literature from the beginning of the 20th century until 1994. Since its emergence, South African working class was a heterogeneous formation which encompassed diverse ethnicities, both of European and non-European origin. Each of them created its own literature and culture, using various languages, incorporating traditional elements and means of expression, and merging them with borrowed foreign discourses and literary devices belonging to the repertoire of socialist literature that had been created mostly in the Soviet Union, the USA and other European countries. Consequently, South African working-class literature can be conceived of as conglomerate of heteroglot hybrid forms and manifestations of a subversive counter-discourse of protest literature. The forms presented here include writings of European socialists commenting on South African situation, novels utilizing the Jim goes to Joburg plot pattern, drama incorporating the Soviet socialist realism and references to the Afrikaans farm novel, Afrikaans folk tunes functioning as protest songs, and black workers praise poetry based on tribal oral conventions. As a carrier of a new working-class identity, this literature promoted a modern urban model which, nevertheless, relied on the continuity with local rural traditions.

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Harris, Fredrick C. „Religion Reconsidered: Black Protest and Electoral Activism in an Age of Transformation“. In Something With in Religion In African-American Political Activism, 42–68. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195120332.003.0004.

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Abstract It seems unlikely that anyone at Carol Moseley Braun’s breakfast considered religion an opiate, likely to soothe its partakers into an apathetic slumber, incapacitating them for politics. In the 1960s, however, many activists and scholars were arguing just that. In 1963, a peak year of protest activism in the South and the same year that Malcolm X blasted “those religious Uncle Toms,” sociologist Nathan Hare criticized black ministers for having “naively or selfishly played up poetic dictums rationalizing the Negro’s lot and soothing his psychological injuries, such as: it is better to give than receive and the meek shall one day inherit the earth-apparently by simply remaining meek and doing nothing to warrant the prize” (1963, 12).1

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Vrana, Laura. „Anti-Lynching Poetry and the Poetics of Protest“. In African American Literature in Transition, 1900–1910, 124–45. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108380669.010.

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Lewin, Tessa. „Queer Visual Activism in South Africa“. In The Aesthetics of Global Protest. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463724913_ch01.

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While the form of visual activism currently being developed in the United States and Western Europe is more commonly linked to street protests or activist campaigning and is often explicitly anti-capitalist, in South Africa visual activism has a different epistemological history and contemporary form. In the South African context, much visual activism is closely linked to the fine art market and its associated institutions. This is exemplified by the queer black South African photographer Zanele Muholi. Going beyond the body of work available on Muholi, however, this chapter uses the works of other South African artists, namely FAKA and Robert Hamblin, a fine art photographer, to explore visual activism and the way in which it complicates/broadens conventional conceptions of activism.

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Oeftering, Tonio, Callee Anne Davis, Kenneth Ngcoza und Zukiswa Nhase. „“Fees must fall” – South African student protests in the context of (informal) citizenship education“. In Protest und Partizipation, 187–200. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845296357-187.

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Konferenzberichte zum Thema "South African Protest poetry"

„A Work Systems View of Unplanned Business Process Change: The Case of #FEESMUSTFALL at a South African University“. In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4186.

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Aim/Purpose: Improving or changing business processes is one of the most important roles for Information technologies functions. Yet, most organizations struggle with planned process change and even more with unplanned change. There is little support from research as the dynamics of planned process change is understudied and unplanned process change is seldom researched. Background: This paper describes the impact of unplanned business process change from a systems perspective. The #feesmustfall student protest movement, which began in 2015, and affected Universities throughout South Africa provides the context. Methodology: An interpretive abductive case study at a South African university used Steven Alter’s Work System framework to describe the unplanned business process change that occurred due to the #feesmustfall student protest movement. Contribution: Theoretically, this paper demonstrates the practical use of Alter’s work system framework to analyze unplanned business process change. Practically, it de-scribes and explains the impacts of the change which may be useful to executives or administrators responsible for operational systems within organizations. Findings: During unplanned business process change, change management, staff training, customizable technology and strategic fluidity and focus were found to be important. Unplanned business process change results in all elements of the work systems and its environment changing, even resulting in changed products and customer behavior. Impact on Society: If organizations are more aware of the impacts of unplanned process change they will be better equipped to control them. Future Research: Future action research studies on unplanned business process change could suggest actions for manager’s dealing with them.

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Berichte der Organisationen zum Thema "South African Protest poetry"

Bianchi, Matias, Florencia Coda, Jennifer Cyr, Ian Heffernan und Jessica Meeker. Effective Governance Responses to Crises: Lessons from the Covid-19 Pandemic. Institute of Development Studies, September 2023. http://dx.doi.org/10.19088/core.2023.011.

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In times of crisis, decision-making becomes paramount, yet it is often influenced by two distinct behavioural patterns: analysis paralysis and risk aversion. Drawing a parallel between the studies presented in this brief, it is possible to discern the interplay of analysis paralysis and risk aversion within institutional responses to crises. The research from the African School of Economics (ASE) examines the phenomenon of analysis paralysis within the context of democratic institutions. It highlights the correlation between democratic rights and long-term economic prosperity while cautioning against the negative consequences of reversing these rights. The study delves into potential mechanisms contributing to the deterioration of democratic institutions during crises, including limited collective action and the acceptance of repressive policies. By analysing survey results from Benin, Burkina Faso, and South Africa, the research uncovers varying degrees of acceptance of perceived repressive policies and willingness to protest, shedding light on the vulnerability of democratic institutions when faced with analysis paralysis. These findings underscore the importance of addressing decision-making bottlenecks, encouraging timely action, and fostering an environment where collective action is possible. Contrasting this, the research from Colabora.Lat focuses on the impact of risk aversion in institutional responses to the pandemic. The findings emphasise the importance of collaboration, highlighting how governments and various actors working together can effectively address the multifaceted challenges posed by crises. Through the lens of risk aversion, the study explores how collaboration enabled governments to combine resources, knowledge, and experiences to produce unified messages and mitigate the worst health impacts. It showcases the successes observed in countries such as Argentina, Bolivia, Chile, Colombia, Guatemala, and Mexico, where collaborative governance fostered effective policy outcomes, including lower mortality rates. By combining the insights from these texts, we gain a comprehensive understanding of the challenges and opportunities faced by institutions during times of crisis. Acknowledging the potential pitfalls of analysis paralysis and the transformative potential of collaborative responses, policymakers and decision makers can navigate crises with more agility, ensuring the preservation of democratic institutions and mechanisms while effectively addressing the health and socioeconomic impacts of crises.

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