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Relevant bibliographies by topics / Awoonor

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Academic literature on the topic 'Awoonor'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Awoonor"

1

Asante, Y. "Tribute: Kofi Awoonor (1935–2013)." Tydskrif vir letterkunde 51, no. 1 (March 28, 2014): 74. http://dx.doi.org/10.4314/tvl.v51i1.6.

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2

Thiong’o, Ngũgĩ wa. "Kofi Awoonor: Hurũka na Thayũ." Journal of Asian and African Studies 50, no. 1 (February 2015): 3–6. http://dx.doi.org/10.1177/0021909614546805.

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3

Willemse, Hein. "Kofi Awoonor in conversation with Hein Willemse." Tydskrif vir Letterkunde 41, no. 2 (May 4, 2018): 186–97. http://dx.doi.org/10.4314/tvl.v41i2.29685.

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4

Kolawole, Mary Ebun Modupe. "Kofi Awoonor as a prophet of conscience." African Languages and Cultures 5, no. 2 (January 1992): 125–32. http://dx.doi.org/10.1080/09544169208717751.

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5

Wright, Derek. "Returning Voyagers: the Ghanaian Novel in the Nineties." Journal of Modern African Studies 34, no. 1 (March 1996): 179–92. http://dx.doi.org/10.1017/s0022278x00055269.

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Ghanaian novelists are notorious for their long absences from fiction, and the 1990s have seen the long-awaited return of some major talents. Kofi Awoonor and Ama Ata Aidoo allowed, respectively, 21 and 14 years to pass between the publication of their first and second novels, while 17 years separated the fifth and sixth works of Ayi Kwei Armah, the best-established writer of the three. Meanwhile, each has been active in other genres during the long intervals — poetry, short stories, essays – and none of them have fallen silent. Awoonor indicated, shortly after his experimental poetic first novel, This Earth, My Brother (1971), that he was at work on another, from which a lengthy extract was actually published in a journal in 1975,1 and advance notices of the full version continued apace, even though it did not appear until 1992. Armah allowed it to be known in 1989, in a rare interview, that since The Healers (1978) he had completed three more novels which, for want of a suitable African publishing house, remained in manuscript form.2 In the foreword to her 1991 novel, Aidoo refers to an interview in 1967 in which she stated that she ‘could never write about lovers in Accra because surely in our environment there are more important things to write about’. The very vehemence of the protest suggested at the time, however, that the author's mind was already running along the lines of this subject, which might at some future date receive full fictional treatment.

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Bruner, Charlotte H. "Review: Until the Morning After: Collected Poems, 1963-1985 by Kofi Awoonor." Explorations in Ethnic Studies ESS-9, no. 1 (August 1, 1989): 3–4. http://dx.doi.org/10.1525/ess.1989.9.1.3.

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7

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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8

Weiss, Holger. "The Making of an African Bolshevik: Bankole Awoonor Renner in Moscow, 1925–1928." Ghana Studies 9, no. 1 (2006): 177–220. http://dx.doi.org/10.1353/ghs.2006.0002.

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9

على, غادة حسین سید. "Two West African Voices in search of Decolonization: Kofi Awoonor and Christopher Okigbo." مجلة البحث العلمی فی الآداب 3, no. 3 (August 1, 2016): 1–24. http://dx.doi.org/10.21608/jssa.2016.11342.

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10

Haynes, John. "Song and Copy: the Relation Between Oral and Printed in Kofi Awoonor' s 'Dirge'." Journal of Commonwealth Literature 20, no. 1 (March 1985): 118–29. http://dx.doi.org/10.1177/002198948502000111.

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Dissertations / Theses on the topic "Awoonor"

1

Ndong, N'Na Ygor-Juste Naumann Michel. "La folie dans le roman africain du monde anglophone (Achebe, Ngugi, Awoonor, Armah, Head) /." [S.l.] : [s.n.], 2009. http://biblioweb.u-cergy.fr/theses/08CERG0384.pdf.

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2

Ouedraogo, Amadou. "Le Symbolisme aquatique dans les oeuvres de Wole Soyinka, Ayi Kwei Armah et Kofi Awoonor." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617209x.

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3

Ouedraogo, Amadou. "Le Symbolisme aquatique dans les oeuvres de Wole Soyinka, Ayi Kwei Armah et Kofi Awoonor." Grenoble 3, 1988. http://www.theses.fr/1988GRE39021.

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Dans les oeuvres de wole soyinka (du nigeria), d'armah et d'awoonor (du ghana), l'eau est l'element de loin le plus valorise. Elle apparait d'abord, ineluctablement liee a la femme et a la terre, car elles sont toutes feminines et maternelles. Le mythe de yemoja, divinite marine et divinite mere (de la mythologie yoruba) permet d'affirmer que l'humanite est nee de la mer. L'eau, la femme et la terre, toutes principes de fecondite, de forces vitales, partagent egalement les memes ambiguites de fascination et de repulsion; ce qui se traduit par le caractere ambivalent devolu a ces elements surtout chez soyinka. L'eau sous forme de pluie est consideree comme manifestation de la transcendance, et comme sperme cosmique destine a feconder la terre. Element vital, l'eau est tout aussi un remarquable support symbolique de la mort, de la melancolie et du desespoir. Cela est suggere par les images de l'eau boueuse, l'eau stagnante, le marais, l'eau nocturne. Profondeur insondable ou mer violente, elle represente aussi une menace redoutable face a laquelle l'homme reste impuissant. Par-dela cette dualite, l'element fluide (sous forme de sang ou de vin) est une valeur mystique essentielle qui permet a l'homme de communier avec la divinite et toutes les forces invisibles du monde. L'eau permet aussi la purification par le bain lustral et l'immersion. Elle symbolise l'inconscient humain et est un element consolateur pour l'homme. L'ecoulement de l'eau et la navigation representent l'existence et la destinee humaines
In the works of soyinka (from nigeria), armah and awoonor (from ghana), the most obviously expressed symbolism is that of water. First of all, water is ineluctably linked with woman and earth, as they are all feminine and maternal. The myth of yemoja, a sea divinity and mother of all divinities (in yoruba mythology) allows us to assert that mankind originates from the sea. Water, woman and earth are characterized by the same ambiguities of fascination and repulsion; and this is expressed by their ambivalence, especially in the work of soyinka. Water in the form of rain, is regarded as the manifestation of transcendence, and as a cosmic semen meant to fecundate earth. Though a vital element, water is also a remarkable symbol for death, gloom and despair. This is suggested by images of muddy waters, stagnant waters, and swamps. As fathomless depths or as violent sea, water represents a redoutable threat man can do nothing against. Beyond this duality, the fluid element (in the form of blood and wine) has a great mystic value which allows man to reconcile and keep in touch with divine and invisible forces of the universe. Water also permits purification, either by symbolic baths or by immersion. It symbolizes human unconscious and is a conforting element for man. Flowing water and navigation represent human existence and destiny

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4

Awoonor-Aziaku, Lena [Verfasser], Henning [Gutachter] Reetz, and Reiner [Gutachter] Voßen. "Variation study of the Received Pronunciation (RP) vowel phonemes /e/, /ɜ:/ and /ə/, among Ewe Speakers of English in Ghana / Lena Awoonor-Aziaku ; Gutachter: Henning Reetz, Reiner Voßen." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2018. http://d-nb.info/1172811288/34.

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Books on the topic "Awoonor"

1

Yolande, Cantù, and Awoonor Kofi 1935-, eds. Kofi Awoonor, This earth, my brother -: A critical view. London: Collins in association with the British Council, 1985.

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2

Hunter, Walt. Forms of a World. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282227.001.0001.

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Forms of a World: Contemporary Poetry and the Making of Globalization shows how the forms of contemporary poetry are forged through the transformations of globalization from 1970 to the present. The book’s inquiry springs from two related questions: what happens when we think of poetry as a global literary form, and when we think of the global in poetic terms? I argue that analyses of globalization are incomplete without poetry and that contemporary poetry cannot be understood fully without acknowledging the global forces from which it arises. Forms of a World contends that poetry’s role is not only to make visible thematically the violence of global dispossessions, but to renew performatively the missing conditions for intervening within these processes. Poetic acts—in this book, the rhetoric of possessing, belonging, exhorting, and prospecting—address contemporary conditions that render social life ever more precarious. I turn to an eclectic group of Anglophone poets, from Seamus Heaney and Claudia Rankine to Natasha Trethewey and Kofi Awoonor, whose poetry and whose lives are, in different but related ways, inseparable from the contemporary global situation. These poets creatively intervene in global processes by remaking their poetry’s repertoire of forms, from experiments in the sonnet to contemporary inventions of the ode.

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3

Moody, H. L. B. Critical View on Kofi Awoonor's "This Earth My Brother" (Nexus). Longman, 1986.

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Book chapters on the topic "Awoonor"

1

Ojaide, Tanure. "Two Tributes: Chinua Achebe and Kofi Awoonor." In Indigeneity, Globalization, and African Literature, 267–71. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137560032_19.

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2

"KOFI AWOONOR (1935-)." In Postcolonial African Writers, 84–106. Routledge, 2012. http://dx.doi.org/10.4324/9780203058558-7.

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3

"Memories of Kofi Awoonor in Texas." In Philosophical Foundations of the African Humanities through Postcolonial Perspectives, 283–86. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004392946_017.

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4

"Kofi Awoonor: The Essays of a Humanist." In Philosophical Foundations of the African Humanities through Postcolonial Perspectives, 139–51. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004392946_010.

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5

"Madding Crowd (For Esiaba Irobi and Kofi Awoonor)." In Syncretic Arenas, 57. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401211802_010.

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6

Hunter, Walt. "The No-Prospect Poem." In Forms of a World, 90–118. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282227.003.0005.

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This chapter argues that, to bring the Anthropocene into a specifically poetic language, poets have recalled and revised the tradition of the loco-descriptive poem and the prospect poem. J.H. Prynne, Kofi Awoonor, Natasha Trethewey, and Juliana Spahr use the hill as an imaginative location for staging the dilemmas of the putative “global citizen” examined at length in chapter two. Far from offering spectatorial mastery to the poet, however, the hill is transformed into the ground and habitation of precarious life. The hill thus makes visible an alternative trajectory of contemporary subjectivity in which the poem’s “I” emerges from and is shaped by the collective immiseration of global capitalism.

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7

Whyte, Philip. "La thématique du voyage dansThis Earth,My Brother...(1971) de Kofi Awoonor." In Les discours de voyages, 277. Editions Karthala, 2009. http://dx.doi.org/10.3917/kart.fonko.2009.01.0277.

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