Suchergebnisse

Bibliography: pages 217-232. ; Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.

Fred Marchant, a professor emeritus in Suffolk University's English Department and founder of the Poetry Center and Creative Writing Program, discusses his poetry, teaching, and continued involvement with the university post-retirement. He describes the meaning behind specific lines of his poetry, and how he combined his love of poetry with a love of teaching at Suffolk. Marchant discusses his time serving in the military during the Vietnam War, including leaving the military as a consequence of becoming a conscientious objector. He also describes the university's growth and changes to its culture as an undergraduate institution from the 1970s until present day. The interview concludes with a discussion of the potential of Suffolk's emerging retirement association and the importance of preserving institutional memory. ; https://dc.suffolk.edu/soh/1036/thumbnail.jpg

Abstract
The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb's life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar's theological writings from the vantage point of Arabia's oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb's appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic.

First published in 1986, Lila Abu-Lughod's Veiled Sentiments has become a classic ethnography in the field of anthropology. During the late 1970s and early 1980s, Abu-Lughod lived with a community of Bedouins in the Western Desert of Egypt for nearly two years, studying gender relations, morality, and the oral lyric poetry through which women and young men express personal feelings. The poems are haunting, the evocation of emotional life vivid. But Abu-Lughod's analysis also reveals how deeply implicated poetry and sentiment are in the play of power and the maintenance of social hierarchy. Wha

Bibliography: leaves 191-202. ; The major object of pursing this study was to understand how oral literature has been used in the communication of change and innovations in Kenya. The study focuses attention on Central Province of Kenya. In the work, oral literature has been studied as a literary media delineating the genre's communicative role in relationship to messages in social-cultural, political and health fields. In this study, we begin from understanding the traditional context and the literary content of the study sample and proceed to analyze and discuss the new and innovative messages communicated by the genre. In the course of the work, oral literature emerges as continually changing and adapting to the social, historical and health challenges that confront the people of the Central Province of Kenya. The primary sources of data used for analysis in this study have been from the Kikuyu people of Central Kenya. Oral texts were recorded and sourced from oral artists, composers and storytellers during fieldwork in this region. Oral narratives, oral poetry in the form of songs, proverbs and oral dramas constitute the main data used for analysis in this study. We have also used in the analysis a few texts from secondary sources. The texts are analyzed as literary genres that are culture-bound. Interviews provided useful collaborative and augmentative data for the study. We have four broad categories of classifying content in our analysis. These include: (i) courtship, marriage and family, (ii) social construction of gender, and (iii) politics and governance and (iv) HIV/AIDS communication. Oral literature among the Kikuyu emerges in this study as a genre that continues to communicate normative values while at the same time exploring new contradictions that have affected the various institutions of courtship, marriage and family. The study also indicates that oral literature continues to play a visible role in gender socialization validating disparate roles for men and women. The genre contributes to the gender debate by extracting a multiplicity of standpoints on gender relations. At the same time, it emerges a medium of contesting not only traditional gender values but also the emerging modernist positions. Over the last century, oral literature also emerges as having played a key role in communicating change and innovations in the politics and governance of Kenya. The resilient nature of the genre is further demonstrated in this study by the way oral literature has responded to HIV/AIDS epidemic in the country. In confronting this relatively new phenomenon, oral literature becomes a tool that helps the people in conceptualizing and protecting themselves against the disease. The conclusions that we draw from this study is that oral literature continues to play a significant role in social communication in spite of various technological and literacy changes that have taken place in Kenya. The genre is constantly being created and recreated to serve specific needs and to respond to the crises of the moment.

This creative writing project is a cross-genre collection of fiction and poetry. There are short stories, poems, and oral stories/anecdotes, which center on Native Canadians who served in the Vietnam War. This is not an historical work, but rather, looks at what has happened to these men because of their war experiences. It was a unique situation for any Canadian to join the U.S. military in their campaign in Vietnam, as it was essentially against the law for those men to enlist with the American military. However, the Canadian government did not interfere with its citizens enlisting, even while it was welcoming American draft-dodgers and sympathizers into the country. Meanwhile, the officers at American recruitment offices generally knew Canadians weren't legally allowed to sign up, but no one enforced that law across the border. It was an unusual time, and an unusual war. (Abstract shortened by UMI.) Source: Masters Abstracts International, Volume: 41-04, page: 0919. Adviser: John Ditsky. Thesis (M.A.)--University of Windsor (Canada), 2002.

The paper investigates the pedagogic relevance of Oral Literature in Literature classroom. Literature in English refers to literature (prose, play, poetry) written by African literary writers who use English as a second language situation. The paper argues that literature of every speech community makes a purposeful incursion into their oral literature; this is also true of Literature in English. Such incursion is expedient as Literature in English, besides being a consortium of African cultural experiences from which learners tap, also documents for posterity the African heritage, which is being seriously eroded by Western civilization. This work identifies this problem: African oral literature is being seriously eroded, and if the erosion is not halted, it will likely result in the extinction of the people. To arrest the sad development, African literary writers consciously document their oral literature in their literary works. Notable in this regard is Achebe, who sees it as a duty to teach and celebrate our indigenous culture through literature. This work relies on both fieldwork and library research.

The M. H. Ross Papers contain information pertaining to labor, politics, social issues of the twentieth century, coal mining and its resulting lifestyle, as well as photographs and audio materials. The collection is made up of five different accessions; L2001-05, which is contained in boxes one through 104, L2002-09 in boxes 106 through 120, L2006-16 in boxes 105 and 120, L2001-01 in boxes 120-121, and L2012-20 in boxes 122-125. The campaign materials consist of items from the 1940 and 1948 political campaigns in which Ross participated. These items include campaign cards, posters, speech transcripts, news clippings, rally materials, letters to voters, and fliers. Organizing and arbitration materials covers labor organizing events from "Operation Dixie" in Georgia, the furniture workers in North Carolina, and the Mine-Mill workers in the Western United States. Organizing materials include fliers, correspondence, news articles, radio transcripts, and some related photos. Arbitration files consist of agreements, decisions, and agreement booklets. The social and political research files cover a wide time period (1930's to the late 1970's/early 1980's). The topics include mainly the Ku Klux Klan, racism, Communism, Red Scare, red baiting, United States history, and literature. These files consist mostly of news and journal articles. Ross interacted with coal miners while doing work for the United Mine Workers Association (UMWA) and while working at the Fairmont Clinic in West Virginia. Included in these related files are books, news articles, journals, UMWA reports, and coal miner oral histories conducted by Ross. Tying in to all of the activities Ross participated in during his life were his research and manuscript files. He wrote numerous newspaper and journal articles on history and labor. Later, as he worked for the UMWA and at the Fairmont Clinic, he wrote more in-depth articles about coal miners, their lifestyle, and medical problems they faced (while the Southern Labor Archives has many of Ross's coal mining and lifestyle articles, it does not have any of his medical articles). Along with these articles are the research files Ross collected to write them, which consist of notes, books, and newspaper and journal articles. In additional to his professional career, Ross was adamant about documenting his and his wife's family history in the oral history format. Of particular interest are the recordings of his interviews with his wife's family - they were workers, musicians, and singers of labor and folk songs. Finally, in this collection are a number of photographs and slides, which include images of organizing, coal mining (from the late 19th through 20th centuries), and Appalachia. Of note is a small photo album from the 1930s which contains images from the Summer School for Workers, and more labor organizing. A few audio items are available as well, such as Ross political speeches and an oral history in which Ross was interviewed by his daughter, Jane Ross Davis in 1986. All photographic and audio-visual materials are at the end of their respective series. ; Myron Howard "Mike" Ross was born November 9, 1919 in New York City. He dropped out of school when he was seventeen and moved to Texas, where he worked on a farm. From 1936 until 1939, Ross worked in a bakery in North Carolina. In the summer of 1938, he attended the Southern School for Workers in Asheville, North Carolina. During the fall of 1938, Ross would attend the first Southern Conference on Human Welfare in Birmingham, Alabama. He would attend this conference again in 1940 in Chattanooga, Tennessee. From 1939 to 1940, Ross worked for the United Mine Workers Non-Partisan League in North Carolina, working under John L. Lewis. He was hired as a union organizer by the United Mine Workers of America, and sent to Saltville, Virginia and Rockwood, Tennessee. In 1940, Ross ran for a seat on city council on the People's Platform in Charlotte, North Carolina. During this time, he also married Anne "Buddie" West of Kennesaw, Georgia. From 1941 until 1945, Ross served as an infantryman for the United States Army. He sustained injuries near the Battle of the Bulge in the winter of 1944. From 1945 until 1949, Ross worked for the International Union of Mine, Mill and Smelter Workers, then part of the Congress of Industrial Organizations (CIO), as a union organizer. He was sent to Macon, Georgia, Savannah, Georgia and to Winston-Salem, North Carolina, where he worked with the United Furniture Workers Union. He began handling arbitration for the unions. In 1948, Ross ran for United States Congress on the Progressive Party ticket in North Carolina. He also served as the secretary for the North Carolina Progressive Party. Ross attended the University of North Carolina law school from 1949 to 1952. He graduated with honors but was denied the bar on the grounds of "character." From 1952 until 1955, he worked for the Mine, Mill and Smelter Workers as a union organizer, first in New Mexico (potash mines) and then in Arizona (copper mines). From 1955 to 1957, Ross attended the Columbia University School of Public Health. He worked for the United Mine Workers of America Welfare and Retirement Fund from 1957 to 1958, where he represented the union in expenditure of health care for mining workers. By 1958, Ross began plans for what would become the Fairmont Clinic, a prepaid group practice in Fairmont, West Virginia, which had the mission of providing high quality medical care for miners and their families. From 1958 until 1978, Ross served as administrator of the Fairmont Clinic. As a result of this work, Ross began researching coal mining, especially coal mining lifestyle, heritage and history of coal mining and disasters. He would interview over one hundred miners (coal miners). Eventually, Ross began writing a manuscript about the history of coal mining. Working for the Rural Practice Program of the University of North Carolina from 1980 until 1987, Ross taught in the medical school. M. H. Ross died on January 31, 1987 in Chapel Hill, North Carolina. ; Digitization of the M. H. Ross Papers was funded by the National Historical Publications and Records Commission.

The paper explores the roots of Gikuyu Erithi poetry. The Gikuyu language is one of the Bantus, Thagicu subgroup languages whose speakers have familial origin with the Embu, Mbeere, Tharaka, Meru and Kamba ethnic communities of Eastern Kenya among others. Erithi dance which hatched Erithi poetry propped up in the 1950s decade when the then British East Africa was engaged in Mau Mau armed struggle with mainly the Gikuyu, Embu and Meru people of Kenya. This dark age of the Kenyan-state was referred to as the State of Emergency and ran from the early 1950s to 1960. This Hindi ya Mageneti, as locals emotively and satirically called it was a turning point in the creation of the nation-state of Kenya. The historiography of Erithi shows that it emerged in Gikuyu Concentration Camps and/or Gikuyu Reserve Villages/Areas. The colonial administration introduced the guitar musical instrument after proscribing the singing and dancing of traditional art-forms. In recent times, Erithi lyrics have mutated to Muugithi art form. Like its precursors, Muthirigu, Kamanu and Mwomboko, performed with the accompaniment of the accordion, a foreign musical instrument, the power of allegory and other literary devices dominate Erithi. With love, marriage, traditions, cultural practices and politics being notable thematic concerns the emergent subgenre of Oral literature forms a fertile base for the integration of teaching linguistics and literature.

This article takes up the challenge of comparative research in Africa by analysing and comparing the oral art of West African griots and Southern African iimbongi or oral poets. Similarities and differences between these performers and their respective societies are highlighted through the use of an ethnographic methodology. A distinction is drawn between the more traditional performers such as Thiam Anchou and D.L.P. Yali-Manisi, and the more modern performers such as M'Bana Diop, Bongani Sitole and Zolani Mkiva. The rich use of genealogy and history in the more traditional performances is highlighted. In comparing the work of the more contemporary, urban poets such as M'bana Diop of Senegal and Zolani Mkiva from Southern Africa, similarities are found in their performances on post-independence leaders such as Senghor and Mandela. Political pressures which have been brought to bear on the performer are also discussed. This article explores the continuity between the past and the present in relation to aspects such as the following: how performers gain recognition, their continued survival, their relationship with politics and religion, the orality- literacy debate, and the stylistic techniques used by these performers. Wherever possible, examples of performers and their work are provided.