Relevant bibliographies by topics / African poetry (French)

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Academic literature on the topic 'African poetry (French)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "African poetry (French)"

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épouse Coulibaly, Cissoko Saran, and Aboubakar Goynougo. "Syntaxe et signifiance de la parole conative dans la poésie Africaine Francophone." Traduction et Langues 22, no. 2 (December 31, 2023): 186–205. http://dx.doi.org/10.52919/translang.v22i2.957.

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Syntax and Meaning of Conative Speech in Francophone African Poetry For those with an interest in African poetry, particularly Francophone poetry, several distinctive features underlie its originality and authenticity. These encompass rhythm, symbolism, and poetic imagery, serving as fundamental markers of the dominant poetic function within poetic discourse. These elements are inevitable considerations in any analysis, be it poetic or stylistic, of literary texts. Poetry in Africa, and conceivably beyond, undoubtedly serves a pragmatic, or more precisely, pragma-enunciative function, often obscured and overshadowed by the omnipotent poetic function—the quintessential literary function. In practical terms, the pragma-enunciative function of a poetic text is revealed through its conative nature. Essentially, poetry is a form of discourse inherently directed towards otherness, intended for an audience. Even when masquerading as an introspective work originating from the soul, ostensibly focused inward to express emotions in a context of heightened lyricism, poetry is fundamentally a conative expression. This characteristic is intrinsic to African poetry, with conative speech representing an indispensable aspect that may even be considered the ultimate purpose of the unavoidable poetic function of language. It is undeniable that elements such as rhythm, symbol, and poetic imagery, along with other aesthetic devices in verbal creation, serve as means of captivating and elevating the discourse, enabling the poet to construct a message aimed at captivating and stirring the reader. Nearly every aspect of the poem contributes to transforming it into a communication from self to other, essentially constituting second-person poetry. Conative speech, in the context of poetry, also assumes an incantatory function, a concept championed by Roman Jakobson, involving the conversion of an absent or inanimate "third person" into the recipient of a conative message. In the realm of French-speaking African poetry, conative speech holds literary, pragmatic, communicative, psychological, and cultural significance, among other dimensions. It is an indispensable component of African poetry, enhancing its illocutionary or even perlocutionary nature. Consequently, a nuanced examination of the syntax of this speech, especially its unconventional or unexpected elements
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Quesada, Sarah M. "Latinx Internationalism and the French Atlantic: Sandra María Esteves in Art contre/against apartheid and Miguel Algarín in “Tangiers”." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 3 (September 2022): 353–80. http://dx.doi.org/10.1017/pli.2022.17.

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AbstractThis article interrogates the South-South internationalism of two renowned US Latinx poets: Miguel Algarín’s abjection in Morocco in his poem “Tangiers” and Sandra María Esteves’s anti-apartheid poetry for the French Art contre/against apartheid project, which included the controversial participation of Jacques Derrida. Although these poems focus on different contexts of African liberation, both react to French coloniality. For Algarín, his Orientalist evocations of underage child prostitution operate under a French hegemony, coming into crisis when a third world alliance fails. In Esteves’s work, her poetic solidarity draws on Frantz Fanon’s experience of French colonization in Algeria but also comes into crisis when Derrida’s foreword for Art contre/against apartheid is challenged as Eurocentric. Although both engagements with African self-determination exhibit residues of a French hegemony undergirding and undercutting what I term is a poetic Latin-African solidarity, their South-South approach enriches postcolonial studies, in which Latin American, and by extension, Latinx identities have been sidelined.
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Bernstein, Charles. "NoOnesRose: An Interview with Pierre Joris." boundary 2 50, no. 4 (November 1, 2023): 1–27. http://dx.doi.org/10.1215/01903659-10694127.

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Abstract Pierre Joris discusses his literary journey from Luxembourg to Bard College to Algeria to Paris and London and finally New York. Joris focuses on his translation of Paul Celan, his engagement with the poetry of the Maghreb (culminating in his coediting of The University of California Book of North African Literature, volume 4 of Poems for the Millennium), and the importance of French poet Edmond Jabès. He goes on to address his choice to write in his fourth language, English, and the formative readings of American poetry and his connection to some of the New American Poets of the generation older than him. In the course of the interview, Joris discusses his sense of a nomadic community—or perhaps better to say “negative” or “inoperable” community. Throughout, he comes back to his commitments to writing poetry and to translation as the core the practice of poetry.
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.

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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Austen, Ralph A. "THE MEDIUM OF “TRADITION”: AMADOU HAMPÂTÉ BÂ’S CONFRONTATIONS WITH LANGUAGES, LITERACY, AND COLONIALISM." Islamic Africa 1, no. 2 (June 3, 2010): 217–28. http://dx.doi.org/10.1163/21540993-90000017.

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In his efforts to communicate his research on African “tradition”—more specifically oral texts—Hampâté Bâ was faced with a choice of languages and alphabets. Much of his work appeared only in French, the language of his main formal education and administrative training. In collaboration with several French colonial scholar-administrators (Henri Gaden, Colonel R. Figaret, and Gilbert Vieillard) Hampâté Bâ eventually developed a system for writing his native Fulfulde in Roman characters. However for his own Fulfulde religious poetry (“mes seules oeuvres de ‘creation’”), Hampâté Bâ used Ajami (Arabic letters representing non-Arabic languages), a writing system that he also promoted as a medium of wider Fulbe literacy.
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Hiddleston, Jane. "Transculturality and ecology in francophone North African poetry: Human/non-human and global/local communities." Francosphères 13, no. 1 (June 2024): 29–44. http://dx.doi.org/10.3828/franc.2024.3.

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As an alternative to a model of world literature complicit with global capitalism and its ecological destruction, critics have proposed the ‘planetary turn’ to name the emergence of a mode of thinking capable of accommodating both social and ecological diversity. Global relationality in this context is understood not only as connectivity between different cultures but also that between the human and the non-human, and emphasizes not only cultural differences and interactions but also our deep embeddedness in and reliance on the ecological environment. Planetary thinking champions the dynamic entanglement between manifold peoples and cultures at the same time as it insists on the connections between the human and the physical world. This article focuses on the ways in which francophone postcolonial North African poetry also betrays a peculiar attentiveness at once to cultural hybridization and to the riches of the ecological landscape. The Moroccan Abdellatif Laâbi and the Tunisian Tahar Bekri are contemporary writers whose poetry has combined, over the last forty years or so, a passion for multilingualism and cultural exchange with a fascination with the singular plant life they discover at home and abroad. Both use both French and Arabic, though most of their work is in French, and write against the forces of oppression left by the legacies of colonialism in part by celebrating transculturality. Both also evoke a form of intimate communion with the ecological environment, and portray it as a force with agency in order to condemn the history of ecological destruction. Their ‘ecocosmopolitan’ poetry in this way proposes a salutary communality that responds in far-reaching ways to human mastery and oppression as it acts both on cultural difference and on the delicate ecology of planet.
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Britton, Celia. "How to be Primitive: Tropiques, Surrealism and Ethnography." Paragraph 32, no. 2 (July 2009): 168–81. http://dx.doi.org/10.3366/e0264833409000510.

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The review Tropiques, founded in Martinique by Aimé Césaire and colleagues in 1941, was heavily influenced by French surrealism, both for its emphasis on political liberation and its investment in primitivism and the revalorization of non-European cultures. But Tropiques's attitude to primitivism was far more ambivalent and contradictory than is usually assumed. While the editors and contributors sometimes do indeed claim to have, as Martinican intellectuals, a close identificatory connection to primitivist sensibility (and are encouraged in this by French surrealists), elsewhere their attitude to such supposed examples of primitivism as African-American poetry and Caribbean folklore is extremely distanced and rather patronizing. Moreover, their claims to an ‘authentic’ relation to primitive culture, especially where this is defined as African, are complicated by the fact that they have to rely on European ethnographic sources in order to make these claims; and the writing in Tropiques shows them grappling with this contradiction.
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Mal Mazou, Oumarou. "Fulani Oral Literature and (Un)translatability: The Case of Northern Cameroon Mbooku Poems." Territoires, histoires, mémoires 28, no. 1-2 (October 23, 2017): 109–31. http://dx.doi.org/10.7202/1041652ar.

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This paper sets out to examine the translatability of Fulani oral poetry from Northern Cameroon, especially the mbooku genre, in a literary perspective. The corpus is gathered from selected oral poems that were transcribed and translated into German, English and French by different translators. The study reveals that it is possible to translate Fulani poems into European languages so that the target texts perform the same literary functions as the source texts, in spite of linguistic and cultural difficulties that occur during the transfer process. Thus, the author proposes a retranslation in which the content meets the form, taking into account some patterns of European modern poetry. He therefore advocates for retranslations of these poems from a purely literary perspective and would like to see translation studies focus more on the primary source of African orality.
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Pyndiah, Gitanjali. "Decolonizing Creole on the Mauritius islands: Creative practices in Mauritian Creole." Island Studies Journal 11, no. 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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Jones, Bridget. "Two Plays by Ina Césaire: Mémoires d'Isles and L'enfant des Passages." Theatre Research International 15, no. 3 (1990): 223–33. http://dx.doi.org/10.1017/s030788330000969x.

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In any consideration of theatre in the French Caribbean, the name Césaire is bound to be mentioned. Aimé Césaire's La Tragédie du roi Christophe (1963) is the most widely- known play in French by a black dramatist, and is now even in the repertoire of the Comédie-Française, and his plays figure widely in checklists of ‘African’ theatre. A revealing contrast can be made between the epic dramas of Aimé Césaire, written for an international audience, especially the newly independent black nations of the 1960s, and the work of his daughter, Ina. He tackles from the standpoint of Négritude major themes of historical drama: the nature of sovereignty, the forging of nationhood; he storms the heights of tragic poetry in French. She is attentive, not to the lonely hero constructing his Haitian Citadel of rock, but to the Creole voices of the grassroots. She brings to the stage the lives of ordinary women, the lore and legends that sustained the slaves and their descendants. Her achievement should of course be assessed away from her father's shadow, but the ‘divergent orientation of the two generations’ also suggests the greater confidence today in the role of Creole language and oral literature, and in a serious theatre within Martinique.
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Books on the topic "African poetry (French)"

1

Chipasula, Stella. The Heinemann book of African women's poetry. London: Heinemann, 1995.

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1953-, Dia Hamidou, ed. Poètes d'Afrique et des Antilles d'expression française: De la naissance à nos jours : anthologie. Paris: Table ronde, 2002.

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Stella, Chipasula, and Chipasula Frank Mkalawile, eds. The Heinemann book of African women's poetry. London: Heinemann, 1995.

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Stella, Chipasula, and Chipasula Frank Mkalawile, eds. The Heinemann book of African women's poetry. Oxford, Oxfordshire: Heinmann, 1995.

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Mala, Nsah, and Tendai R. Mwanaka. Best "new" African poets 2019 anthology: Antologie des meilleures "nouveaux" poetes Africains 2019 = Antologia dos melhores "novos" Africanos 2019. Chitungwiza, Zimbabwe: Mwanaka Media and Publishing, 2019.

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D'Ambrosio, Nicola. Bibliographie méthodique de la poésie maghrébine de langue française: 1945-1989. Fasano, Br, Italia: Schena, 1991.

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Giovanni, Dotoli, ed. Poésie méditerranéenne d'expression française, 1945-1990. Fasano, Br., Italia: Schena, 1991.

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Seychelles, Ministry of Local Government Sports and Culture. Romances des Seychelles. Seychelles: Ministère des Collectivitès Locales, des Sports et de la Culture, 2005.

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Sinda, Thierry. Anthologie des poèmes d'amour des Afriques et d'ailleurs: Néo-négritude, les nouveaux chevaliers de la poésie du ponde noir, par Jacques Rabémananjara. [Chevagny]: Orphie, 2013.

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Maïga, Aboubacar. Nation en sommeil: Suivi de nouvelles du Mail. Bamako, Mali: La Sahélienne, 2014.

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Book chapters on the topic "African poetry (French)"

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Reza, Alexandra. "Theorising reading, writing and society." In Anticolonial Form, 52–78. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198896319.003.0003.

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Abstract This chapter gives a diachronic account of the changing ideas about reading and writing from the founding of Présence Africaine in 1947 to the closure of Mensagem by the Salazar regime in 1964. Firstly, it argues that both journals had demonstrate a high level of consensus about the connections between literature, pedagogy, and questions of epistemology. It discusses the early editions of Présence Africaine and the founding in Lisbon of the Centro de Estudos Africanos by African students and writers. Secondly, the chapter goes on to argue that after 1955, writers in French and Portuguese sought to steer a middle path between political engagement and individual artistic freedom, focusing on a major debate about these questions in Présence Africaine in 1956. Turning to Mensagem, the chapter suggests that under the weight of censorship and repression, some poets developed a poetics of constraint and obliqueness that itself redefined what ‘political poetry’ might comprise.
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Mattison, Mike, and Ernest Suarez. "The Fantastic." In Poetic Song Verse, 119–44. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496837271.003.0005.

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This chapter examines how in the sixties the fantastic was used—with varying degrees of success—to invigorate language and sound in poetic song verse. The chapter discusses how surrealism primarily entered American poetry through the work of French and Spanish language artists, including Arthur Rimbaud, Cesar Vallejo, and Fredrico Garcia Lorca, and how surrealistic imagery came to the blues through African and Western mysticism. Both manifestations of the fantastic melded in rock during the mid-to-late 60s and played a vital role in the development of poetic song verse. Drawing on Lewis Hyde’s conception of “the trickster,” the chapter examines how Bob Dylan, Leonard Cohen, Jimi Hendrix, the Who, the Grateful Dead, and others cunningly reanimated our cultural narrative against a backdrop of sixties culture.
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Harding, Jeremy. "African Countries." In The Oxford Guide to Contemporary Writing, 1–21. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198182627.003.0001.

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Abstract Introducing a collection of African oral literature in 1988, the Nigerian polemicist and poet Chinweizu warned against any approach to the subject that reinforces ‘an Africa which European racism is flattered to imagine’. Instead, he suggests that ‘we [Africans] should listen to Africans talking to Africans about the world’. Writers like Chinweizu are concerned that the encounter between Africa and Europe is neither innocent nor symmetrical: slavery and the colonial past tilt this uneasy exchange in favour of non Africans. As outsiders, Europeans face a central problem when considering contemporary African writing: to think of it sui genms is to condescend to it; to compare it with other traditions-English, American, Indian, or French-is to disregard its specificity.
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Warner, Tobias. "The Fetish of Textuality: David Boilat’s Notebooks and the Making of a Literary Past." In The Tongue-Tied Imagination, 33–50. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.003.0002.

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This chapter sketches the beginnings of literary modernity in Senegal through an analysis of a remarkable nineteenth-century collection of textual artifacts.This collection includes a multilingual corpus of poetry, calligraphy, folktales, and songs, as well as the textual components of several leather-bound protective amulets that for centuries Europeans called “fetishes.” The collection was assembled by David Boilat, a mixed-race priest, who pasted his findings into the pages of a notebook before sending them to anthropologists in Paris. Boilat’s notebook reframes the residues of many different textual practices and performance genres as texts that can be quotable, transportable, and readable in new ways. This subsumes collected artifacts into a new textual order, founded on the principle of readability. Nearly a century later, a young Léopold Senghor would incorporate some of Boilat’s collections into an early anthology of African writing in French, thereby consecrating them as literature.
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Plasa, Carl. "‘Slave-Ships on Fantastic Seas’: The Art of Abolition." In Literature, Art and Slavery, 66–94. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9780748683543.003.0004.

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This chapter switches attention from ekphrases on Turner’s The Slave Ship to consider the literary legacies of three abolitionist images from British and French traditions: Stowage of the British Slave Ship ‘Brookes’ under the Regulated Slave Trade Act of 1788 (c. 1788); Description of a Slave Ship (1789); and ‘Négrier Poursuivi, Jetant ses Nègres à la Mer’ (‘Slave Ship Being Pursued, Throwing its Blacks into the Sea’), an undated illustration thought to be from the early part of the nineteenth century and included in volume four of Charles van Tenac’s Histoire Générale de la Marine (General History of the Navy) (1847–8). The afterlives of these visual materials are analysed in the diverse contexts of contemporary African American poetry (using examples from the work of Elizabeth Alexander and Honorée Fanonne Jeffers) and in Matthew Plampin’s Will & Tom (2015), a densely plotted and tonally mercurial novel by a white British author which imagines Turner’s early artistic career.
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Niang, Aliou Cissé. "Senghorian Négritude and Postcolonial Biblical Criticism." In Life Under the Baobab Tree, 126–70. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502980.003.0006.

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This chapter presents Léopold Sédar Senghor as an intellectual who embodies the Baobab Tree metaphor. He is the architect of proto-postcolonial theory and forerunner to that of Edward Said, Gayatri Chakravorty Spivak, and Homi Bhabha. I argue that Negritude, as articulated by Senghor, is a poetic biblical hermeneutics with which he destabilizes and subverts French colonial epistemology. More importantly, Senghor’s proto-postcolonial theory engages the entirety of African culture and its vital life force to liberate and rehabilitate the oppressed. The chapter illustrates the liberating conscientization that emerges with his proto-postcolonial work with Africana activism. This activism is political and religious as it arises from a deep reflection on sacred texts that seek to create meaningful movement and symbiotic humanistic progress and then reexamines that movement and its underside, for the purposes of more fully embodying worldviews of creative and productive lives.
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Balbuena, Monique R. "Minor Literatures and Major Laments." In Homeless Tongues, 19–58. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804760119.003.0002.

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This chapter presents Sadia Lévy, an Algerian poet who attempted to inscribe himself in the gallery of French Symbolists while writing in a French enriched by infusions of Hebrew and Judeo-Spanish, activating biblical and Kabbalistic genres in his poems. Lévy allows us to look at the development of modernism from a different angle, and serves as an example that will prompt changes in Jewish historical narrative, destabilizing certain views of Jewish culture, more specifically about Sephardi and North African Jews. Writing in French in colonial Algeria, Lévy makes us rethink the boundaries that define a French and a Francophone author. Having written one of the first Maghrebi novels in French, his precedence has gone unrecognized because as a Jew, he is considered French—an ideological exclusionary act that misses his ambivalent position and does not recognize that the privilege of his French citizenship is more artificial than ever.
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Das, Santanu. "Touching Wounds." In Literature and the Senses, 413–30. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192843777.003.0023.

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Abstract How does the most intimate and elusive of the senses bear witness to historical violence, or, to put it differently, is there a perilous intimacy between violence and the tactile, whether touching at a distance—through sight or hearing—or through our skin? How does literary language evoke the processes of touch? This chapter looks at a range of representations from the First World War, starting with the letters and poetry of Wilfred Owen, then moving beyond the trenches to investigate their colonial (particularly South Asian), African American, and modernist imaginings. What fresh intensities of meaning—epistemological, erotic, political—do such moments of tactile engagement get invested with and what is their relationship to poetic form? Writers discussed range from the British Indian military officer ‘Roly’ Grimshaw and the Harlem Renaissance novelist Jessie Fauset to modernist writers such as D. H. Lawrence and Claire Goll.
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Soyinka, Wole. "Negritude and the Gods of Equity." In The Burden of Memory, the Muse of Forgiveness, 145–94. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195122053.003.0004.

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Abstract The continent of Africa in itself has remained a contentious object of contemplation and reference for black Americans and West Indians since the nineteen-twenties. “What is Africa to me?” was a question that inspired more than mere poetry and rhetoric—it informed, in one way or another, the socio-political existence of many. The paradox in several opposing attitudes—when we look at the polemics that ushered in the age of Negritude from the late twenties, in France especially—is that, without awareness of the fact, the rebels against the assimilationist tendency—Réne Meril, Etienne Lero, Léon Damas, etc.—were actually within the same camp as those identified objects of their contempt, the champions of assimilation such as the poet Gilbert-Gratiant, whose “This is my climate.…the atmosphere of France” reads like an unconscious parody of Mark Anthony’s “This is my space.” This ironic link was that neither side, coming from totally incompatible ideological preferences, actually recognized in themselves subjects caught within the colonial vice. The French assimiles adopted the identity of France without qualification, indeed with pride and protectiveness; the “rejectionists,” to whom the former were simply despicable lackeys and would-be black Frenchmen, were equally content to remain within the French national identity, never questioning its validity or potent contradiction to their mission of race retrieval. This blind spot in the latter group is easily explained. They were trapped within the raging ideology of the day, Marxism, a universalism that united the oppressed everywhere, without reference to color, race, or nationality.
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Braxton, Joanne M. "Symbolic Geography and Psychic Landscapes: A Conversation with Maya Angelou." In Maya Angelou’s I Know Why the Caged Bird Sings, 3–20. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195116069.003.0001.

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Abstract Maya Angelou, Z. Smith Reynolds Professor of American Studies at Wake Forest University in Winston-Salem, North Carolina, is the author of five autobiographies, of which I Know Why the Caged Bird Sings (1970) is the first and best known.1 Even before accepting the lifetime appointment at Wake Forest, Angelou’s teaching and experience spanned not only the United States and Europe but also Africa and the Middle East. A celebrated poet, teacher, and lecturer who has taught at the University of California, the University of Kansas, and the University of Ghana, among other places, Angelou has been honored for her academic and humanistic contributions as a Rockefeller Foundation Scholar and a Yale University Fellow. While in Ghana, she worked for the African Review as feature editor. Previously, while residing in Cairo, Egypt, Angelou (who speaks French, Spanish, and Fanti) edited the Arab Observer.
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