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This chapter argues that since the 1960s and 1970s Aboriginal protest poetry has taken a gendered turn. It examines the gendering of protest through an analysis of the politico-aesthetics of the work of three poets, Kath Walker/Oodgeroo, Romaine Moreton and Jeanine Leane.

In a time of civil unrest in Hong Kong starting summer of 2019, Hong Kong citizens have navigated a shift in identity and their political social climate. Beginning in early summer of 2019, protests broke out around Hong Kong in response to the Hong Kong government's proposal of an Extradition Bill, which ultimately would allow Hong Kong legal power to "extradite fugitives to territories where it doesn't have formal extradition deals, including mainland China, Taiwan and Macau" (Hollingsworth, 2019). The poems examined in this essay convey what it means to be a citizen of Hong Kong during a time of social and political unrest. Through close reading and analysis of recent poems published in 2019 to the present both in English and Chinese, this research demonstrates how indigenous progressive poets create new interpretations of bodily images through protest poetry, using personification of the city and concrete images of limbs, blood, and the youth to bespeak the disembodiment of political ideals that Hong Kong citizens are experiencing. Hong Kong poets' creative ramifications of body politics in protest poetry from 2019 to the present indicate not only a vision of themselves as constituting members of the city's political landscape, but also a perception of the body as a site of affective experience and change. Because the city is collectively experiencing the protests, the personification of Hong Kong as a single body proves to be an effective approach in demonstrating the cultural and political shifts. Against the backdrop of Hong Kong's rapidly changing political scene, these poems articulate disembodiment, frustration, and yearning for new ideals of identity and citizenship. ; https://digitalcommons.usu.edu/fsrs2020/1099/thumbnail.jpg

El canto del gallo. Poelectrones (1972) [The rooster's crow. Poelectrons], poem book by Mexican Jesús Arellano, whose particular layout was produced in virtue of the technical-typographic advances of the 1970's. The texts are studied from sociology, literature's socio-criticism, visual poetry and the vanguards (specifically concretism) in order to establish a relation between the evolution of the modes of literary expression and the social transformations of the XX century. By means of the analysis of some texts from the book, as Marxists-Leninist world vision is glimpsed, which is possible to link to left-wing political thinking and protest poetry. ; Se analiza El canto del gallo. Poelectrones (1972), poemario del mexicano Jesús Arellano, cuya particular diagramación fue realizada gracias a los avances técnico- tipográficos de los años setenta. Los textos son estudiados desde la sociología, la sociocrítica de la literatura, la poesía visual y las vanguardias (en especial el concretismo), para así establecer una relación entre la evolución de los modos de expresión literaria y las transformaciones sociales del siglo XX. Por medio del examen de algunos textos de la obra se vislumbra una visión de mundo marxista-leninista que es posible enlazar con el pensamiento político de izquierda y la poesía de protesta.

In 406 B.C., eight generals of the Athenian navy were brought to trial for abandoning survivors of a shipwreck after the great battle of Arginusae. The public clamored for blood; and the state, spreading a wave of terror, intimidated the assembly that was then trying the generals. They were condemned to death. Only Socrates dared to speak out against the abuse of law, identifying the generals as victims of an insecure government. "The true teacher," he had said, "must offer himself as a model of what he preaches."

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.

Pablo Neruda's "Song of Protest" faithfully reflects the realities of his time. It addresses the issues of imperialism and tyranny and celebrates the vision of the world created by their heroes and poets. It provides sensuous representations of the history of Latin America, characterized by oppression pervading in all areas of life, made manifest in specific events and concrete individuals. This paper examines the opus as a social product of a particular historical epoch. It discusses the life of Neruda, the governments and politics in Latin America, and how these provide an understanding of the forces that shaped both Neruda and his poetry. Ultimately, Neruda's vision is of unity. That is, equality among men and justice for all. The contribution of Neruda's poetry to the world is on how it inspires the poem-participator to become a dynamic participative historical force.

Our memory, thought and personality are incomplete without unrestrained expression and for all practical purposes verse has been our succour. Our linguistic memories and the language in which we express them serve not just to narrate our tales but also empower us to give voice to our dissent or acceptance. From time immemorial, language has served to contextualise and narrate not just need and thought but imagination and thus paved way for possibilities of progress for the world at large. Language, through poetry, its most potent tool, language has invoked the spirit of resurgence, resistance and awakening of many a people. When the participants of the 2019 World Poetry Conference recorded their deliberations, they declared in the preface thus "…things are not be read out or recited, they are to be discussed and debated too. Poets are unacknowledged legislators of the world but nobody takes us seriously because legislatures are made for parleys not for transient recitations. We envision an activist role for the poet to understand his calling intellectually, socially, psychologically and spiritually" (Anand, 2019). The keynote speaker of the conference Brad Modlin noted "poetry announces change through what it says and what it doesn't say, poetry allows us to see what is happening in the world around us and informs us of what is present and what is absent, poets help us understand events and why and how they happen, they help us navigate through collective joy, dissent and bear witness to the world as it happens"(Modlin, 2019). True to these observations, poetry serves as an instrument of protest and reaches the most primitive of listeners and makes inroads into their opinion formation apparatus. This paper has chosen to elaborate upon the theme of awareness, language and media while narrowing it down to explore how poetry has served to protest in the age of social media and has ushered in an era of art based protest. This is done using the broader framework of social media activism and literature. The researcher has used secondary data from journals, newspapers, poetry anthologies and social media links to support the claims of the paper. The paper will also attempt to enquire into the nature, structure and motivation behind such poems and the resulting impact. The scope of this paper is restricted to protest poetry as narrative tools and its role in generating conversations on social media.