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Artykuły w czasopismach na temat "African Protest poetry"
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Ohia, Dr Ben-Fred. "The Protest Tradition in African Literature: Symbolism in Chinua Achebe’s Anthills of the Savannah". Journal of Humanities,Music and Dance, nr 35 (21.09.2023): 34–40. http://dx.doi.org/10.55529/jhmd.35.34.40.
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critical examination of African literature will show that Africa before the advent of Europeans in Africa had two types of literature namely: oral literature and literature written in the indigenous languages. African literature raises the question of defining African literature geographically, racially or culturally and any impingement on any of these is vehemently opposed by African writers in their works: protest novel, protest drama and protest poetry alike. The main purpose of this paper is to explore and establish the idea of “protest” as aspect of the African fiction (novel) as espoused in Achebe’s Anthills of the Savannah. This paper adopts ecocriticism and qualitative method. It looks into elements of protest in the chosen text; in reflection to the African fiction and literature generally. It is the findings of this paper that protest in African literature results from the fight for decolonisation and a struggle against intimidation, dehumanisation, degredation of the environment through colonialism and neocolonialism. This paper concludes that this commitment of African literary writers has made African fiction a protest literature, especially as seen in Achebe’s Anthills of the Savannah.
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Sadaf i 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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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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Maiwong, Eric Dzeayele. "The Use of Marked English Verbs as a Tool of Protest in African Commonwealth Poetry". Studies in English Language Teaching 12, nr 2 (2.06.2024): p175. http://dx.doi.org/10.22158/selt.v12n2p175.
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This paper examines the use of marked English verbs as an aspect of the highly technical manipulation of the English Language by some distinguished African Commonwealth poets, in order to achieve their aims. By using data from African Commonwealth Poetry, selected from the writings of Brutus (1973), Nortje (1973), and Mtshali (1972), and basing the analysis on Markedness theories, Semiotics, and Critical Discourse Analysis in order to buttress its analysis. Among its key findings and contributions, the paper establishes that marked English verbs constitute an efficient tool that enables the three poets in focus to protest against the various injustices of apartheid and that Africanization of the English Language is not the only solution available to African Commonwealth writers, as they grapple with the problem of expressing themselves in a foreign language. Furthermore, the paper has made a pertinent contribution in linguistic studies by proving that the linguistic phenomenon of markedness goes beyond existing linguistic terms like hyponymy and polysemy and can thus not be better expressed by them as some scholars claim. It equally proves that a closer study of African Commonwealth Literature necessitates an analytical study of various parts of speech and not only the bigger units of English. Finally, in the analysis of a data of marked English verbs, it has been discovered that markedness as specification for semantic distinction can lead not only to a suggestion of adjectivals and adverbials, but also to that of figures of speech.
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Pyndiah, Gitanjali. "Decolonizing Creole on the Mauritius islands: Creative practices in Mauritian Creole". Island Studies Journal 11, nr 2 (2016): 485–504. http://dx.doi.org/10.24043/isj.363.
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Many Caribbean and Indian Ocean islands have a common history of French and British colonization, where a Creole language developed from the contact of different colonial and African/ Indian languages. In the process, African languages died, making place for a language which retained close lexical links to the colonizer’s tongue. This paper presents the case of Mauritian Creole, a language that emerged out of a colonial context and which is now the mother tongue of 70% of Mauritians, across different ethnic and linguistic backgrounds. It pinpoints the residual colonial ideologies in the language and looks at some creative practices, focusing on its oral and scribal aspects, to formulate a ‘decolonial aesthetics’ (Mignolo, 2009). In stressing the séga angazé (protest songs) and poetry in Mauritian Creole in the history of resistance to colonization, it argues that the language is, potentially, a carrier of decolonial knowledges.
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Abdulrahman, Salih Abdullah. "The Cultural confrontation in Sonia Sanchez’s Rap Poetry". Journal of Tikrit University for Humanities 29, nr 3, 1 (25.03.2022): 1–15. http://dx.doi.org/10.25130/jtuh.29.3.1.2022.22.
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This paper studies the rap poetry of Sonia Sanchez as an example of the literature of protest which prevailed throughout the 1960s and „70s of the twentieth century, especially the poetry of the Black Arts Movement. During the 1960s a group of Black poets started to compose poems that can best be described as anti-white poems which aimed at rejecting the hegemonic white culture and its oppressions over the Blacks. They rejected the American culture in favour of a Black one that would formulate a Black consciousness which would be the touchstone of the cultural resistance and would, the poets wished, initiate a revolution against the white Americans‟ violence and unfair practices towards the African-Americans.Sonia Sanchez was an active member of the Black Arts Movement which was established in the 1960s and called for a violent revolution against the white Americans, especially after the assassination of Malcolm X and Martin Luther King. This movement called for Black aesthetic which highlighted a literature that reflects and explores the Black culture and traditions and speaks to the Blacks‟ issues and concerns. Therefore, their poems were politically oriented as they addressed the lives and ambitions of the Black people and started using the Black speech in their poetry. Their poetry, then, is given a Black identity which is considered as the essence of the Black Aesthetic Movement
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FAREBROTHER, RACHEL. "The Lesson Which India Is Today Teaching the World: Nationalism and Internationalism inThe Crisis, 1910–1934". Journal of American Studies 46, nr 3 (23.03.2012): 603–23. http://dx.doi.org/10.1017/s0021875811001319.
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This article aims to test the limits of current assessments of the New Negro renaissance, which tend to emphasize either its investment in cultural nationalism or its Pan-African focus, by exploring the international contours ofThe Crisisunder Du Bois’s editorship. Recent analysis ofThe Crisishas paid considerable attention to the productive juxtaposition of what Anne Carroll has termed “protest and affirmation,” whereby Du Bois positioned reports on racial violence next to accounts of African American achievements in order to prompt acknowledgement of the realities of racism. But such criticism has focussed almost exclusively upon Du Bois’s treatment of American issues, overlooking his sustained interest in international cultural and political concerns. Focussing on the editorial framing of Indian nationalism, this article contends that the common distinctions drawn between internationalism and nationalism are too simplistic to accommodateThe Crisis's formulation of cultural nationalism by way of internationalism. Indeed, scrutiny of the magazine's formal texture, which stages dynamic interplay between poetry, short fiction, investigative journalism, photography, readers' letters and political cartoons, reveals tensions that animate Du Bois's project, not least his dependence upon colonialist ways of seeing and a narrative of racial unity across the African diaspora that serves to elide cultural and historical specificity.
Rozprawy doktorskie na temat "African Protest poetry"
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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, 2014The 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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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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Brady, Robert J. "O where, o where is the ending? : an examination of black protest poets and poetry, with particular reference to the Black African Diaspora and Aboriginal Australia /". Title page and Contents only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arb8125.pdf.
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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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Kromberg, Steve. "The problem of audience: a study of Durban worker poetry". Thesis, 1993. https://hdl.handle.net/10539/26364.
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A thesis submitted to the Faculty of Arts, University of the
Witwatersrand, Johannesburg in fulfilment of the requirements for
the degree of Master of ArtsThis dissertation shows how both poets and their audiences have played a central role in the emergence of Durban Worker poetry. A review of critical responses to worker poetry concludes that insufficient attention has been paid to questions of audience. Performances of worker poetry are analysed, highlighting the conventions used by the audience when participating in and evaluating the poetry, Social, political and literary factors which have influenced the audience of worker poetry are explored, as are the factors which led to the emergence of worker poetry. In discussing the influence of the Zulu izibongo (praise poetry) on worker poetry, particular attention is paid to formal and performative qualities. The waye in Which worker poetry has been utilised by both poets and audience as a powerful intellectual resource are debated. Finally, the implications of publishing worker poetry via the media of print, audio-cassettes and video-Cassettes are discussed.
Andrew Chakane 2019
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Kgalane, Gloria Vangile. "Black South African women's poetry (1970-1991) : a critical survey". Thesis, 2012. http://hdl.handle.net/10210/6649.
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M.A.This dissertation investigates the work of black women poets in South Africa during the period 1970 - 1991, within the context of race and gender politics. The period 1970 - 1991 represents the approximately two decades in which black poetry became recognised as an important development in South African literary studies. Although several studies of the work of black male poets have been written, hitherto no substantial study of the writings of black women poets, in particular, has been undertaken. Although relatively few black women poets published their work during this era, when compared to their male counterparts, this critical survey will attempt to give a broad overview of the poetry black women produced. Focusing on poetry written in English, this dissertation will argue that the majority of black women poets writing during this period harnessed their writing to the anti-Apartheid or liberation struggle in South Africa. Many of these poets regarded their writing as a 'cultural weapon' which could contribute to political transformation, and although few regarded themselves as 'feminist' poets, their poetry reveals a deep concern with gender oppression as well as racial and class oppression. Chapter one, the introduction, focuses on the way in which black South African women poets have been largely ignored, neglected and 'silenced' by the majority of critics. This chapter will also consider some of the factors that may have prevented more black women from producing and publishing poetry: social factors such as education, literacy and access to publication will be explored. The second chapter explores the emergence of South African 'protest poetry', and focuses on the poetry of Jennifer Davids and Gladys Thomas in relation to the 'protest' tradition. It will be argued that while poet Gladys Thomas defined her writing in terms of 'protest' literature, Jennifer Davids produced a more introspective, personal poetry that was primarily concerned with the difficulties of 'finding an individual voice' in the South African environment. The third chapter focuses on the more intensified phase of 'protest poetry' which was produced after 1976 by the growing culture of literary activism in the black townships, and will show how women poets write of the suffering specific to township women. This chapter will also focus on an analysis of gender oppression within the poets' own homes and communities, as well as celebrations of political activities by women. In particular, this chapter concentrates on women's poetry published in the literary magazine, Staffrider, established to promote the work of black writers. The Trade Union Movement was a major influence on literary production during this time, as we shall see from the 'worker poetry' produced by many women in the 1980s. Chapter four will concentrate on the poetry produced by black South African women in exile, most of whom were active in the ANC. It will be argued that rather than producing introspective poetry about the condition of exile, these women harnessed their writing to `the struggle'. This poetry can broadly be defined as 'resistance' or 'liberation' poetry. Some of these poets also explore the issue of gender in relation to liberation politics.
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Frielick, Frielick Stanley. "Aesthetics and resistance: aspects of Mongane Wally Serote's poetry". Thesis, 1990. https://hdl.handle.net/10539/24711.
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A dissertation submitted to the Faculty of Arts, University of the Witwatersrand,
Johannesburg, in fulfilment of the criteria for the c[egree of Master of ArtsThe literature produced by writers who align themselves with national liberation and resistance movements presents a serious challenge to dominant standards of literary . aesthetics. Resistance writing aims to break down the assumed division between art and politics. and in this view literature becomes an arena of conflict and struggle. This dissertation examines certain aspects of the poetry of Mongane Wally Serote in order to explore the relationship between aesthetics and resistance in his writing. Over the last two decades, Serote has made a significant contribution to the development of South African literature, and his work has important implications for literary criticism in South Africa. Chapter 1 looks at some of these implications by discussing the concept of resistance literature and the main issues arising from the debates and polemics surrounding the work of Serote and other black political writers. Perhaps the most important here is the need to construct a critical approach to South African resistance literature that can come to terms with both its aesthetic qualities and political effects. This kind of approach would in some way attempt to integrate the seemingly incompatible critical practices of idealism and materialism. Accordingly, Chapter 2 is a materialist approach to aspects of Serote's early poetry. The critical model used is a simplified version of the interpretive schema set out by Fredric Jameson in The Political Unconscious. This model enables a discussion of the poetry in relation to ideology, and also suggests ways of examining the discursive strategies and symbolic processes in this particular phase of Serote's development. Serote's later work is 'characterised by the attempt to create a unifying mythology of resistance. Chapter 3 thus looks at Serote's long poems from an idealist perspective that is based on the principles of myth-criticism, As this is a complex area, this chapter merely sketches the main features of Serote' s use of myth as a form of resistance, and then suggests further avenues of exploration along these lines. The dissertation concludes by pointing towards some of the implications of recent political developments in South Africa for Serote and other resistance writers.
Andrew Chakane 2018
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Tsambo, T. L. (Theriso Louisa). "The theme of protest and its expression in S. F. Motlhake's poetry". Diss., 1999. http://hdl.handle.net/10500/16225.
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In the Apartheid South Africa, repression and the heightening of the Blacks' struggle
for political emancipation, prompted artists to challenge the system through their
music, oral poetry and writing. Most produced works of protest in English to reach a
wider audience. This led to the general misconception that literatures in the
indigenous languages of South Africa were insensitive to the issues of those times.
This study seeks firstly to put to rest such misconception by proving that there is
Commitment in these literatures as exemplified in the poetry of S.F. Motlhake.
Motlhake not only expresses protest against the political system of the time, but also
questions some religious and socio-cultural practices and institutions among his
people. The study also examines his selected works as genuine poetry, which does not
sacrifice art on the altar of propaganda.African Languages
M.A. (African Languages)
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Tembo, Charles. "Post-independence Shona poetry, the quest and struggle for total liberation". Thesis, 2012. http://hdl.handle.net/10500/6106.
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This study pursues the quest and struggle for total liberation in post-independence Shona poetry. The study also relies on views of key respondents obtained through interviews and questionnaires. Couched and guided by Afrocentricity and Africana womanism, the study elucidates the politico-economic and socio-cultural factors that militate against Africa’s total liberation in general as well as women’s liberation, respectively. Simultaneously, critical judgments are passed on the extent to which poets immerse their art in African existential philosophy. The study is energized by the idea that pursuing the quest for authentic liberation provides a lens through which one can understand threats to Africa’s true liberation. It observes that poets and key informants largely attribute ersartz independence to internal problems. The researcher holds that it is problematic to hold a domesticated vision of the African condition to the extent that poets and other literary workers need to widen their canvas beyond fighting internal oppression and internationalise the struggle. The researcher argues that it is myopic and self-defeating to protest against Africa itself without giving adequate attention to the incapacitating hegemonic world system. Therefore, the poetry is lacking on its critique on domination. The centerpiece of the thesis is that in order to be purposeful and functional, poets need to grapple with both endogenous and exogenous factors that obstruct the march towards genuine liberation. The study also observes that in some instances poets produce cheap literature which is marked by a narrow and moralistic approach and this is attributable to the fact that poets lack a scientific vision in understanding reality. Concerning women’s authentic liberation, the commonly identified obstacles to women’s freedom are the male counterpart, self-depreciation, lack of education and culture. The study observes that women poets in Ngatisimuke (1994) and key respondents seem to approach gender relations from a feminist perspective and hence fail to situate women’s condition in the context of the history and culture that shape African gender relations. Women poets in Ngatisimuke fall short of internationalising their struggle in concert with the male counterpart such that their poetry degenerates into sponsored and misguided activism.African Languages
D. Litt. et Phil. (African Languages)
Książki na temat "African Protest poetry"
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Brutus, Dennis. Poetry & protest: A Dennis Brutus reader. Scottsville, South Africa: University of KwaZulu-Natal Press, 2006.
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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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(Group), Last Poets, red. Vibes from the scribes: Selected poems. Trenton: Africa World Press, 1992.
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Neff-Mayson, Heather. Redemption songs: The voice of protest in the poetry of Afro-Americans. Bern: Francke Verlag, 1989.
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Williams, Brian. The wounded spear rises. Cape Town: Buchu Books, 1989.
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Hughes, Langston. Good morning revolution: Uncollected writings of social protest. Seacaucus, N.J: Carol Pub. Group, 1992.
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Smith, Laverne Byrd. Poems of indignation: Revisiting 20th century civil rights and Black awareness movements. Richmond, Va: NorthLight Publishing, 2005.
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(Group), Last Poets, red. Vibes from the scribes: Selected poems. London: Pluto Press, 1985.
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1962-, Dardagan Britz Roxandra, red. Slow fires. Johannesburg: Fourthwall Books, 2013.
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Sanchez, Sonia. Sonia Sanchez Afroamerican dream: La protesta diventa cultura. Roma: Aracne, 2011.
Znajdź pełny tekst źródłaCzęści książek na temat "African Protest poetry"
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Vrana, Laura. "Anti-Lynching Poetry and the Poetics of Protest". W 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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Drwal, Małgorzata. "The Hybridity of South African Working-Class Literature". W 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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Ehlers, Sarah. "Lyric Internationalism". W Left of Poetry, 143–78. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0007.
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This chapter considers Haitian communist poet Jacques Roumain and his reception in the United States. Analyzing the production, circulation, and reception of Roumain’s writings and his authorial persona, the chapter explores several connected variants of a communist internationalism that is imagined through the idea of “lyric,” or “lyricism,” and it demonstrates how such international imaginaries are tied to different conceptions of history. The chapter begins by sketching the import of Roumain as a figure for U.S. radicals. It then turns to Roumain’s friendship with Langston Hughes, showing how the exchange of poems between the two allows critics to move beyond straightforward historical accounts that show how radical African American artists and intellectuals referred to Haiti’s revolutionary past in their protests against Jim Crow policies, colonial occupations, and the rise of fascism in Europe. I argue that Roumain and Hughes harness and experiment with the unique temporality of the poetic lyric in order to present black radicalism as a formation unbounded by spatial and temporal borders. The final sections turn to the prose and poetry Roumain composed during his exile in the United States, using it to rearticulate ideas about the relationship of the poetic lyric to historical praxis.
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Harris, Fredrick C. "Religion Reconsidered: Black Protest and Electoral Activism in an Age of Transformation". W 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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Brodie, Geraldine. "Harrison’s Hecubas". W Tony Harrison and the Classics, 135–50. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198861072.003.0007.
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Harrison’s Hecuba provides an opportunity to examine his engagement with the centrality of a significant female role from the perspective of his persona as a political activist. Harrison’s collaboration with Vanessa Redgrave enabled him to craft a production criticizing the intervention of the USA and its allies in Iraq, and to take his critique to the geopolitical centre of the policies he condemns through his portrayal of Hecuba’s interaction with her Greek victors. Harrison’s introduction to the published text addresses the contradictory attitude whereby the public weeps for one Hecuba but allows the war zone to be flooded with many Hecubas. This multiplicity of Hecubas provides a further insight to Harrison’s approaches to translation, performance, and activism through its reoccurrence in Harrison’s original play Fram. Fram has an international agenda, moving from Fridtjof Nansen’s polar exploration in 1895 to contemporary protests by Kurdish poets and frozen African stowaways. Fram also resurrects the classicist translator Gilbert Murray and his regular actor Sybil Thorndike, ‘who portrayed Hecuba’. This chapter reads Fram as Harrison’s commentary on his role as an activist writer in relation to his production of Hecuba. It investigates the intersection of Harrison’s activities of poet, translator, adaptor, and director and examines Harrison’s conviction of the relevance of Classical drama for contemporary issues and the persuasive role of performance as activism.