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Relevant bibliographies by topics / African Poets

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Academic literature on the topic 'African Poets'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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Journal articles on the topic "African Poets"

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Afolayan, Kayode, and INYANG Utitofon Ebong. "Of Divination Tray and the Search for Utopia: A Postcolonial Reading of Okinba Launko’s Selected Poems." KENTE - Cape Coast Journal of Literature and the Arts 3, no. 1 (May 28, 2022): 59–74. http://dx.doi.org/10.47963/jla.v3i1.222.

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Primordial oral literary forms have always been very central to the evolution of modern African literature. Arguably, these forms have impacted on modern African poetry, not only on account of their recurrence in the works of poets, but also as important indices in current poetry studies and criticism. Contemporary African poets have since stretched the limits and aesthetics of these forms to emphasize their relevance in the postcolonial space, following after the Negritude poets who set the antecedent in the use of Africa’s primordial forms,. This paper, using selected poems from Okinba Launko’s Dream-Seeker on Divining Chain (1993), Commemorations (2007) Seven Stations Up the Trays Way (2013), discusses the different tropes and manifestations of oral forms in modern African poetry. The writers isolate the poet’s use of Ifa, the Yoruba divinity muse, to comment on the dilemmas of the postcolonial space. The paper concludes that the dialectic prism of Okinba Launko’s poetry exteriorizes a neo-negritude template that sustains the relevance of primordial forms in African poetry.

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Traoré, Moussa. "An Ecocritical Reading of Selected African Poems." KENTE - Cape Coast Journal of Literature and the Arts 1, no. 1 (December 19, 2019): 74–89. http://dx.doi.org/10.47963/jla.v1i1.87.

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This paper discusses some ecocritical ideas in selected poems by Kofi Awoonor, Kofi Anyidoho and the Negritude poets David Diop and Birago Diop. Drawing on postcolonial ecocriticism theory the paper focuses on ecocritical symbolisms and their ramifications in order to show how African poets attend to the environment, community and modernity’s many flaws. The consideration of the Negritude poems in this study stems from the fact that Negritude Literature in general and the selected poems in particular have been examined mainly within the context of Black African identity and the antiracist effort in general. The paper demonstrates that ecological motifs or symbols are deployed by some African poets to express life, survival, and nostalgia.

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Awuzie, Solomon. "Mirroring the society, mirroring its hospitals: Hyginus Ekwazi's poetry and the challenge of nation-building." English Studies at NBU 5, no. 1 (June 1, 2019): 77–91. http://dx.doi.org/10.33919/esnbu.19.1.4.

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Anglophone African poetry has become a significant medium through which African society from the year 2000 to date is mirrored. The younger Anglophone African poets, widely referred to as the poets of the third-generation, have always used their poetry as means to respond to both historical and current socio-political circumstances that tend to distinguish Africa from the rest of the world. Their poetry now constitutes counter-hegemonic discourse against bad leadership in Africa and against corrupt African social and medical institutions. Using Hyginus Ekwuazi’s The Monkey’s Eyes as a representative poetry of the younger Anglophone African poets, emphasis is made on how the poet depicts the African society and its hospitals. The paper analyzes the collection as a sequel to all other collections of poetry produced by the younger poets at this period. It reveals the condition in which the poetry is produced and how it has responded to the decay in African society and its hospitals. The paper points out that though the older generation of the Anglophone African poets responded to similar socio-political situation, the younger generation of the Anglophone African poets has become the prominent voice in this period and that their poetry provides a clear picture of what is happening in Africa within this time space. Being a new set of voices on the terrain of the Anglophone African poetry, a study of this poetry opens up a new platform upon which this so-called “aesthetic of rage” is appreciated. Note: An earlier version of this paper was presented at Birkbeck University of London in an International Conference captioned “Mirror, Mirror: Perceptions, Deceptions, Reflections in Time” organized by London Centre for Interdisciplinary Research (LCIR) on 10th March, 2018 in London, UK.

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Bwana, Edith. "Has Feminism Changed Women’s Realities in Africa? An Interrogation of the Poems of Ogundipe and Shire." Journal of Humanities and Social Sciences 11, no. 2 (December 12, 2022): 18–28. http://dx.doi.org/10.56279/jhss.v11i2.2.

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African feminist movements of the 1960’s marked the starting point of debates from the origin of feminism in Africa to its impact on women and the society at large. Literature has from the go been used as a vehicle to reflect the life and its vicissitude on African women. African women writers have used literature as a platform to challenge and re-imagine gender relations within their societies and the continent as a whole. Yet, the question arises: despite half a century’s worth of literary production, has the reality of women, as reflected in literature, changed? This paper thematically interrogates the collection of poems by Molara Ogundipe-Leslie, Sew the Old Days and Other Poems published in 1985, in comparison to Warsan Shire’s Teaching My Mother How to Give Birth of 2011. Both poets are renowned for depicting current issues faced by women and their struggles in patriarchal systems. A thematic analysis allows for the inference of change: do these poets address the same struggles, or has almost thirty-year difference brought about discernible changes?

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Mashiah, Rachel. "Names of Accents and Diacritical Punctuation Signs in Poems by North African Jewish Poets." Sefarad 62, no. 2 (December 30, 2002): 349–68. http://dx.doi.org/10.3989/sefarad.2002.v62.i2.562.

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Dawes, Kwame, and Adam Schwartzman. "Ten South African Poets." World Literature Today 75, no. 3/4 (2001): 125. http://dx.doi.org/10.2307/40156793.

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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.

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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.

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Odueme, Edoama Frances. "Orality, Memory and the New African Diaspora Poetry: Examining Tanure Ojaide’s Poetics." Afrika Focus 32, no. 1 (February 27, 2019): 149–58. http://dx.doi.org/10.1163/2031356x-03201010.

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The influence of traditional oral poetic forms on modern African poetry has been significant. Fascinated by oral forms which their respective communities relied on (to inform, teach, and correct erring members) before the advent of literacy, modern African writers borrow from these oral traditions and blend them with the features of the written Western literary forms. This appropriation of the oral poetic techniques by modern African poets continues today, as is clearly evident in the writings of many contemporary African poets, whose scripted works are seen to have drawn much in terms of content and form from the African oral poetic tradition. Following in this trend, the new African diaspora poets have also maintained the practice of skillfully blending the rich African verbal art and the modern (written) poetic forms to articulate the experiences of their African homeland as well as those of the diaspora, in order to construct and project their identities and visions of a new life in their lived world. In order to explore how through recourse to memory, “new African diasporas” (African-descended people who migrated out of Africa, during the postcolonial era and who live and practice their art outside the African homeland) utilize African oral art techniques in their writings, this essay analyses the poetry of Tanure Ojaide.

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Sanyal, Sovon. "Trailing the Growth from Nativism to Africanity in Lusophone African Poetry." Lingua Cultura 4, no. 2 (November 30, 2010): 117. http://dx.doi.org/10.21512/lc.v4i2.357.

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Article explored the development of African poetry, that is from nativism to be Africanity, in Lusophone African poetries. The study used library research by analysing the impact of printing press, public education, and freedom of expression emergences toward literary activities in Portuguese colonies in Africa. In this regard ethnological and historical studies on the colonies had an important role to play for the later development of nationalism among the colonised African peoples. Article’s discussion concerned with describing proper literary activities in Portuguese began in the Lusophone countries of Africa, poetry characterization by the “black” and “white” presentations, added by some example of poetries. It can be concluded the problematic of colour is present in African poems in Portuguese right from its inception, The common purpose of the nineteenth century Lusophone African poets was to discover the regional cultural history and identity, which was denied to them for centuries by the foreign rulers.

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Osbey, Brenda Marie. "New-Generation African Poets: Tano." World Literature Today 92, no. 6 (2018): 82–88. http://dx.doi.org/10.1353/wlt.2018.0142.

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Dissertations / Theses on the topic "African Poets"

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Best, Felton O. "Crossing the color line : a biography of Paul Laurence Dunbar, 1872-1906 /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1249488861.

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Pinnock, William. ""To learn how to speak": a study of Jeremy Cronin's poetry." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1021038.

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In the chapters that follow, the porous boundary between the public and the private in Jeremy Cronin’s poetry is investigated in his three collections, Inside (1983), Even the Dead: Poems, Parables and a Jeremiad (1996) and More Than a Casual Contact (2006). I argue two particular Marxist theorists are central to reading Cronin’s poetry: Bertolt Brecht, and his notion of the Verfremdungseffekt, and Walter Benjamin and his work on historical materialism, primarily the essay On the Concept of History / Theses on the Philosophy of History (1940). Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. I argue that these are the major preoccupations in Cronin’s oeuvre as well. As such Cronin’s poetry may be seen to write against a perspective that proposes a linear conceptualisation of history. The poetry therefore challenges the notion that art speaks of ‘universal truths.’ Such ideas of History and Truth, if viewed uncritically, allow for a tendency to conceive of the past as unchanging, which subconsciously promotes the idea that social and political realities are merely logical evolutionary steps. I argue that Cronin’s poetry is thus purposefully interruptive in the way that it confronts the damaging consequences of the linear conceptualisation of history and the universal truth it promotes. His work attempts to find new ways of connection and expression through learning from South Africa’s violent past. The significance of understanding each other and the historical environment as opposed to imposing perspectives that underwrite the symbolic order requires the transformation rather than the simple transferral of power, and is a central focus throughout Cronin’s oeuvre. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism. In this regard, two general trends have operated as critical paradigms in the study of South African poetry, namely Formalism (or ‘prac crit’) and a Marxist inflected materialism, which have in many ways perpetuated the division between the private and the public. This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. Cronin’s perspective on these polarised responses will be discussed, which will illustrate the similarity of his position to Ndebele’s notion of the ‘ordinary’ which suggests a way beyond these binaries. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. Considering the major influences and paradigms when reading Cronin’s oeuvre provides a foundation for the following three chapters. These include Cronin’s use of Romanticism, Bertolt Brecht and the V-Effekt and Walter Benjamin’s perspectives on historical materialism. In addition to these three theoretical paradigms, the relevance of Pablo Neruda’s poetry to Cronin’s work is also foregrounded. In Chapter Two, the focus will be on Cronin’s first collection of poetry, Inside, concentrating on Cronin’s use of language as a way of constructing poetry in the sparseness of the prison experience. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges. In this regard, the poems “Poem-Shrike” “Prologue” and “Cave-site” are analysed. In addition, one of the central poems in Cronin’s oeuvre, “To learn how to speak […],” will be examined in order to illustrate how the poet extends this project on a meta-poetic level, asking for South African poets to ‘learn how to speak’ in the voices of South African experience and histories. I will show how this is linked to Cronin’s “Walking on Air” which illustrates how the V-Effeckt recovers the small private histories through re-telling the life story of James Matthews, a fellow prisoner incarcerated for his anti-apartheid activism, revealing how this story is intimately connected to the public sphere. In Chapter Three, Cronin’s second collection: Even the Dead: Poems, Parables and a Jeremiad will be examined. In the poem “Three Reasons for a Mixed, Umrabulo, Round-the-Corner Poetry” Cronin resists inherited Western poetic conventions by incorporating and subverting versions of the Romantic aesthetic, arguing for poetry to be immersed in South African multi-lingual and multi-cultural experiences. “Even the Dead” reveals how Cronin uses Walter Benjamin’s perspectives on historical materialism to confront amnesia. In terms of the themes established in “To learn how to speak […]”, the poem “Moorage” demonstrates how the public and private can never be separated in Cronin’s work. The final section of this chapter will examine how Cronin responds to Pablo Neruda’s poems “I am explaining a few things” and “The Education of a Chieftain,” and how these poems challenge narratives that privilege the ‘great leader’ instead of the so-called smaller individuals’ stories. Chapter Four examines selections from Cronin’s third collection, focusing on Cronin’s use of the automobile, charting an ambiguous trajectory through the ‘new’ South Africa. The examination of the poems “Where to begin?”, “Switchback” and “End of the century - which is why wipers,” all attempt to include individuals left on the margins of the narrative of global freeways and neo-liberal capitalist progress. The poems present an interrogation of how ‘vision’ is constructed. This will show that the poetry responds to the experiences of the marginalised under these grand narratives in a primarily fragmentary and interruptive manner. This in effect constitutes the culmination of Cronin’s poetic journey and the search for new ways of envisaging South Africa’s future and finding a new language with which to speak it.

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Tait, Charles Norman. "Die verjaardagvers-ritueel in Breyten Breytenbach se oeuvre." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/5076.

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This study investigates the subgenre of the birthday poem within Breyten Breytenbach’s poetical oeuvre. Throughout the now half a century of his poetic production the writer has repeatedly written poems for himself on his birthday on 16 September of each new year (as well as a smaller number to his wife and close friends) The writing of birthday poems becomes a ritualist poetical act throughout the poet’s life and poetical oeuvre, one that has served many purposes over the years of Breytenbach’s increasingly nomadic existence. This study’s scope spans fifty years of poetical output, starting with the poet’s debut anthology, Die ysterkoei moet sweet (1964), including all the anthologies up to the publication of vyf-en-veertig skemeraandsange uit die eenbeendanser se werkruimte (2014). A small literary history is offered at the outset of the tradition of the birthday poem, based in classical Roman times (Argetsinger,K 1992) and following through to modern times. After describing the reasons for the sometimes challenging task of identifying birthday poems (unmarked by dates, having to rely on inference deduced from the content, and the like), the poems are analyzed with a particular focus on their nature and function within the larger context of the poet’s oeuvre. The research is organized according to the separate phases traceable in Breyten Breytenbach’s oeuvre (Van Vuuren 2011: 46–56), describing the steadily shifting themes and motifs of the subgenre throughout each of the four phases (pre-prison, prison, post-prison and late work phases). It was found that the birthday poems cohere as a subgenre within the oeuvre. Breytenbach’s birthday poems have a distinctive character and certain identifiable qualities (ritualistic characteristics such as reflection on the self within the present, reflection on time past, evaluating the situation and self on the particular birthday. Placed against the specific context in which the poet finds himself, with a poetical and autobiographical way forward implied in the given milieu and context, psychological insights are utilized where applicable, especially in the prison birthday poems and the late work birthday poems. A remarkable new insight gained through this study is the nature of he “reminiscence bump” (Janssen, Haque 2014) which older people experience, and is identified also in Breytenbach’s late work birthday poems. This adds to and refines the understanding of the nature of late work in Breytenbach’s poetical oeuvre. A final insight gained from the research is that description and comprehension of this smaller corpus of birthday poems (roughly thirty identified at present) may also be used as an entry into understanding of the nature of the poet’s large oeuvre (comprising twenty collections of poetry, containing around 1,600 poems between 1964 and 2014), as they represent each stage of development in Breyten Breytenbach’s oeuvre.

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Balanescu, Mihai S. "Metamorphoses and ritualism in Harlem Renaissance poetry." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368177.

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Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.

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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.

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Bell, Monita Kaye Wyss Hilary E. "Getting hair "fixed" Black Power, transvaluation, and hair politics /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Bell_Monita_45.pdf.

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Hacksley, Helen Elizabeth. "An edition of a selection of poems by John Randal Bradburne." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1008069.

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This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.

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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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Miller-Haughton, Rachel. "Re-Calling the Past: Poetry as Preservation of Black Female Histories." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1005.

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This paper discusses the poetry of Audre Lorde and Natasha Trethewey, and the ways in which they bring to attention the often-silenced histories of African American females. Through close readings of Lorde’s poems “Call” and “Coal,” and Trethewey’s “Three Photographs,” these histories are brought to the present with the framework of the words “call” and “re-call.” The paper explores the ways in which Lorde creates a new mythology for understanding her identity as “black, lesbian, mother, warrior, poet” in her innovative, intersectional feminist poetry. This is used as the framework for understanding modern poets like Trethewey, whose identity as a biracial black woman from the American South colors her lyric, more formal work. Lorde uses the vocal, oral tradition of calling as Trethewey relies on visual, gaze-focused recall. Recall is memory and re-call means bringing the hidden past into the future. The paper concludes by saying that all black female writers may participate in their own ways of calling out the truth and remembering what should be forgotten.

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Stevens, Mariss Patricia. ""Symbiosis or death" an ecocritical examination of Douglas Livingstone's poetry." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1002254.

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As the quotation in the title of this thesis indicates, Douglas Livingstone states that unless humankind can learn to live in mutuality with the rest of the natural world, the human race faces extinction. Using the relatively new critical approach of ecological literary criticism (ecocriticism) this thesis explores Livingstone's preoccupation with "symbiosis or death" and shows that the predominant theme in his ecologically-orientated poetry is one of ecological despair. Countering this is a tentative thread of hope. Possible resolution lies in the human capacity to attain compassion and wisdom through the judicious use of science, creativity, the power of art and the power of love. Livingstone's ecological preoccupation is thus informed by the universal themes which have pervaded literature since its recorded beginnings. The first chapter examines the concepts of ecology and literary ecocriticism, followed by a chapter on the life and work of Douglas Livingstone, and a review of the critical response to the five collections of poetry which predate A Littoral Zone, his final work. The remaining four chapters offer an analysis of his ecologically-orientated poetry, with the majority of the space given to an examination of A Littoral Zone. The following ecological themes are used in the analysis of the poems: evolutionary theory, humankind's relationship to nature, ecological equilibrium, and ecological destruction. The latter two themes are shown to represent Livingstone's view of the ideal and the real, or the opposites of hope and despair. The analysis interweaves an argument with the existing critical response to this collection. This thesis demonstrates that Livingstone's crucial message – the need for humankind to attain ecological sensibility or “the knowledge of right living” (Ellen Swallow) and so obviate its certain extinction – has largely been ignored in previous critical works.

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Books on the topic "African Poets"

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African-American Poets. Springfield, USA: Enslow, 1996.

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

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Onuegbu, Charles Izundu, Selina N. Onochie, and Oraka I. Bibian. Songs of poets: An anthology of African poems. Enugu, Nigeria: Cecta Books in association with Afrika-Link Books, 2005.

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

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Langston Hughes: African-American poet. Chanhassen, MN: Child's World, 2003.

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

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1914-, Randall Dudley, ed. The Black poets. New York: Bantam Books, 1988.

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Phillis Wheatley: First African-American poet. Chicago: Childrens Press, 1995.

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Pettis, Joyce. African American Poets: Lives, Works, and Sources. Westport, USA: Greenwood Press, 2003.

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Harold, Bloom, ed. African-American poets: Volume 1: 1700s-1940s. New York: Chelsea House, 2009.

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Book chapters on the topic "African Poets"

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Brewer, Mary F. "African-American War Poets." In War, Experience and Memory in Global Cultures Since 1914, 110–30. Routledge, 2018. http://dx.doi.org/10.4324/9780429489990-6.

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Mwanaka, Tendai Rinos. "Best New African Poets Interview with South African Poet, Archie Swanson." In Best New African Poets 2021 Anthology, 316–31. Mwanaka Media and Publishing, 2022. http://dx.doi.org/10.2307/j.ctv2z860nc.210.

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"Mmap New African Poets Series." In Shades of Black, 106–7. Mwanaka Media and Publishing, 2020. http://dx.doi.org/10.2307/j.ctv1b7423k.58.

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"Mmap New African Poets Series." In Best New African Poets 2021 Anthology, 393–97. Mwanaka Media and Publishing, 2022. http://dx.doi.org/10.2307/j.ctv2z860nc.219.

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"Mmap New African Poets Series." In This Body is an Empty Vessel: Poetry, 104–6. Mwanaka Media and Publishing, 2021. http://dx.doi.org/10.2307/j.ctv2z860mv.57.

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"Mmap New African Poets Series." In A Matter of Inclusion, 88–90. Mwanaka Media and Publishing, 2022. http://dx.doi.org/10.2307/j.ctv2z860z1.41.

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Juwa, Martin Chrispine. "African Pride." In Best New African Poets 2019 Anthology, 158. Mwanaka Media and Publishing, 2020. http://dx.doi.org/10.2307/j.ctv1b74285.118.

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Chafaki, Fayssal. "African Unity." In Best New African Poets 2021 Anthology, 64–65. Mwanaka Media and Publishing, 2022. http://dx.doi.org/10.2307/j.ctv2z860nc.50.

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Mwanaka, Tendai Rinos. "Best New African Poets Interview with Zimbabwean poet, Oscar Gwiriri." In Best New African Poets 2021 Anthology, 364–72. Mwanaka Media and Publishing, 2022. http://dx.doi.org/10.2307/j.ctv2z860nc.214.

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Mwanaka, Tendai Rinos. "Best New African Poets Interview with Malawian poet Joseph Sukali." In Best New African Poets 2021 Anthology, 354–63. Mwanaka Media and Publishing, 2022. http://dx.doi.org/10.2307/j.ctv2z860nc.213.

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Conference papers on the topic "African Poets"

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Alanda Moctar, Akpena Moctar, and Zhongzhen Yang. "Chinese Ports Experience for African Ports Development." In 11th International Conference of Chinese Transportation Professionals (ICCTP). Reston, VA: American Society of Civil Engineers, 2011. http://dx.doi.org/10.1061/41186(421)4.

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Bhero, Ernest, and Alwyn Hoffman. "Using information and communication technology to improve the efficiency of African border posts." In IEEE AFRICON 2015. IEEE, 2015. http://dx.doi.org/10.1109/afrcon.2015.7331955.

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Mneney, T., and D. Yell. "Enhancing South Africa's Port Maintenance." In 12th Triannual International Conference on Ports. Reston, VA: American Society of Civil Engineers, 2010. http://dx.doi.org/10.1061/41098(368)100.

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Anderson, John Robert Beveridge. "Design and Development of the Msikaba and Mtentu River Bridges." In IABSE Conference, Kuala Lumpur 2018: Engineering the Developing World. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/kualalumpur.2018.0497.

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<p>The story of the Msikaba and Mtentu River Bridges is a story about the Transkei Region in South Africa. The area’s unfenced rural landscape is considered unique and is characterised by steep gorges and rivers that run down to the Wild Coast. The civil engineers of the past avoided the area and the main highway connecting the ports of Durban and East London runs 200 km inland. This is now changing with the South African National Roads Agency’s SOC Ltd (SANRAL’s) procurement of the new N2 Wild Coast Road that will realign the highway within 30 km of the coast. The project includes two new crossings, one a 580 m span cable-stayed bridge, the other a 1.1 km long viaduct with a 260 m central balanced cantilever span, across the deepest gorges on the route. Their design and procurement is however driven not only by their physical environment but the need to create jobs, business opportunities for small local enterprises and community development projects that will leave a legacy and a long term economic benefit.</p>

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Werikhe, Gerald Wanzala, and Jin Zhihong. "Dry Ports Development in East Africa - A Benchmarking Approach." In 2016 Eighth International Conference on Measuring Technology and Mechatronics Automation (ICMTMA). IEEE, 2016. http://dx.doi.org/10.1109/icmtma.2016.65.

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Veilleux, Marcel D., Eric McClellan, and Scott B. Jazynka. "West Central Africa's Transshipment Terminal: São Tomé e Príncipe." In 11th Triennial International Conference on Ports. Reston, VA: American Society of Civil Engineers, 2007. http://dx.doi.org/10.1061/40834(238)132.

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Lee Allen, William, Glenn Gaydar, and John Bardi. "Port of Kamsar Expansion: Development of a Greenfield Bulk Terminal in Guinea, West Africa." In 11th Triennial International Conference on Ports. Reston, VA: American Society of Civil Engineers, 2007. http://dx.doi.org/10.1061/40834(238)2.

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Puustjarvi, Juha, and Leena Puustjarvi. "Towards web-assisted self-care in developing countries: A challenge for health posts and pharmacies." In 2016 IST-Africa Week Conference. IEEE, 2016. http://dx.doi.org/10.1109/istafrica.2016.7530574.

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Gamassa, Pascal Kany Prud'ome, and Yan Chen. "Comparison of port efficiency between Eastern and Western African ports using DEA Window Analysis." In 2017 14th International Conference on Service Systems and Service Management (ICSSSM). IEEE, 2017. http://dx.doi.org/10.1109/icsssm.2017.7996148.

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Mabija, S. "Planning and Design of a Regional Delivery Hub for the Next Generation of Bulk Carrier Vessels in West Africa." In Proceedings of Ports '13: 13th Triennial International Conference. Reston, VA: American Society of Civil Engineers, 2013. http://dx.doi.org/10.1061/9780784413067.183.

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Reports on the topic "African Poets"

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A situation analysis of the maternal and child health/family planning (MCH/FP) program in Botswana. Population Council, 1996. http://dx.doi.org/10.31899/rh1996.1002.

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Botswana has a rapid annual population growth rate and a high total fertility rate. It also has one of the highest levels of contraceptive use in sub-Saharan Africa. Infant and under-5 mortality rates have fallen, yet maternal mortality remains high. The Government of Botswana has developed an extensive network of health care facilities that provide services through an integrated approach. Family planning (FP) services are available at all three levels of the MOH system (hospitals, clinics, health posts). Services for managing sexually transmitted diseases (STDS) have recently undergone a substantial change with the introduction of the Syndromic Approach to STD management. There is concern about a rapid increase in the number of persons infected with HIV. Although the Government of Botswana continues to make efforts to meet the need for FP, STD, and AIDS services, there remains a large unmet need. The Botswana Population Assistance Project is USAID’s approach to strengthening MCH/FP and STD/AIDS services to improve quality and availability of FP/STD services and expand AIDS prevention measures.

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