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Relevant bibliographies by topics / Caribbean poetry

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Academic literature on the topic 'Caribbean poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Caribbean poetry"

1

King, Bruce, Stewart Brown, and Jennifer Northway. "Caribbean Poetry Now." World Literature Today 61, no. 3 (1987): 479. http://dx.doi.org/10.2307/40143480.

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Putte-de Windt, Igma van, and Monique S. Pool. "Caribbean Poetry in Papiamentu." Callaloo 21, no. 3 (1998): 654–59. http://dx.doi.org/10.1353/cal.1998.0174.

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RODRÍGUEZ, EMILIO JORGE. "Oral Tradition and Recent Caribbean Poetry." Samuel Beckett Today / Aujourd'hui 12, no. 1 (December 8, 2002): 1–12. http://dx.doi.org/10.1163/18757405-90000114.

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RODRÍGUEZ, EMILIO JORGE. "Oral Tradition and Recent Caribbean Poetry." Matatu 12, no. 1 (April 26, 1994): 1–12. http://dx.doi.org/10.1163/18757421-90000074.

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Neumann, Birgit, and Jan Rupp. "Sea passages: cultural flows in Caribbean poetry." Atlantic Studies 13, no. 4 (September 23, 2016): 472–90. http://dx.doi.org/10.1080/14788810.2016.1216765.

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Westall, Claire. "The Her-story of Caribbean Cricket Poetry." Sport in History 29, no. 2 (June 2009): 132–49. http://dx.doi.org/10.1080/17460260902872586.

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Morrison, Anthea. "'Americanité' or 'Antillanité'? Changing perspectives on identity in post-négritude Francophone Caribbean poetry." New West Indian Guide / Nieuwe West-Indische Gids 67, no. 1-2 (January 1, 1993): 33–45. http://dx.doi.org/10.1163/13822373-90002672.

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Analysis of Francophone Caribbean poetry focusing on the notions of Antillanité and Américanité as they relate to the work of Sonny Rupaire and Alfred Melon-Degras. The author emphasizes the varying impulses and allegiances which may confront the Francophone Caribbean writer wrestling with his identity.

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Ramazani, Jahan. "The Wound of History: Walcott's Omeros and the Postcolonial Poetics of Affliction." PMLA/Publications of the Modern Language Association of America 112, no. 3 (May 1997): 405–17. http://dx.doi.org/10.2307/462949.

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The figure of the wound is central to Derek Walcott's Omeros, one of the most ambitious works of postcolonial poetry. Walcott grants a European name to the primary bearer of the wound, the black fisherman Philoctete, who allegorizes African Caribbean suffering under European colonialism and slavery. This surprisingly hybrid character exemplifies the cross-cultural fabric of postcolonial poetry but contravenes the assumption that postcolonial literature develops by sloughing off Eurocentrism for indigeneity. Rejecting a separatist aesthetic of affliction, Walcott frees the metaphoric possibilities of the wound as a site of interethnic connection. By metaphorizing pain, he vivifies the black Caribbean inheritance of colonial injury and at the same time deconstructs the experiential uniqueness of suffering. Knitting together different histories of affliction, Walcott's polyvalent metaphor of the wound reveals the undervalued promise of postcolonial poetry.

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Caulfield, Carlota, and Lee M. Jenkins. "The Language of Caribbean Poetry. Boundaries of Expression." Hispania 89, no. 4 (December 1, 2006): 894. http://dx.doi.org/10.2307/20063412.

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Gallagher, M. "Contemporary French Caribbean Poetry: The Poetics of Reference." Forum for Modern Language Studies 40, no. 4 (October 1, 2004): 451–62. http://dx.doi.org/10.1093/fmls/40.4.451.

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Dissertations / Theses on the topic "Caribbean poetry"

1

Bowers, Paul. "Jamaican poetry and Jamaican life : an anthropological account of poetic, performative and linguistic culture in Jamaica." Thesis, SOAS, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309930.

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Pearn, Julie. "Poetry as a performing art in the English-speaking Caribbean." Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/1796/.

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This thesis seeks to demonstrate that there is a direct relationship between the emergence of poetry as a performing art in the English speaking Caribbean and phases of nationalist agitation from the uprisings against unemployment, low pay and colonial neglect during 1937-8 to the present. Though the poetry has many variations in scope, ranging from light-hearted entertainment, its principal momentum has been one of protest, nationalism and revolutionary sentiment. The thesis seeks to relate tone, style and content both to specific periods and cultural contexts, and to the degree of engagement of the individual artist in the political struggle against oppression. Frequently theatrical, the poetry has commanded a stage and a popular audience. Though urban in style, it is rooted in older, rural traditions. Creole, the vernacular of the masses, is a vital common denominator. The poetry is aurally stimulating, and often highly rhythmic. The popular music of the day has played an integral part, and formative role in terms of composition. The fundamental historical dynamic of the English-speaking Caribbean has been one of violent imperialist imposition on the one hand, and resistance by the black masses on the other. Creole language, with its strong residuum of African grammatical constructs, concepts and vocabulary, has been a central vehicle of resistance. It is a low-status language in relation to the officially-endorsed Standard English. The thesis argues that artists' assertion of Creole, and total identification with it through their own voice, is a significant act of defiance and patriotism. Periods of heightened agitation in the recent past have each led to the emergence of a distinctive form of performance poetry. Chapter two examines the role of Louise Bennett as a mouthpiece of black pride and nationalist sentiment largely in the period preceding independence. Her principal aim is the affirmation of the black Jamaican's fundamental humanity. She uses laughter both as a curative emotional release and as an expression of mental freedom. She lays the foundations of a comic tradition which does not fundamentally challenge the contradictions of the post-independence period. Chapter three relates the emergence of the Dub Poets of Jamaica to the development of Rastafarianism into a mass post-independence nationalist revival, and to the contribution of intellectuals, most symbolically Walter Rodney, to the process of decolonization. Reggae music, the principal creative response to the dynamics of the period both in terms of lyrics and rhythmic tension, infuses the work of Michael Smith, Cku Onuora, Mutabaruka and Erian Meeks examined in this study. Chapter four illustrates the development of performed poetry in the context of periods of insurrection and revolution in the East Caribbean. It examines the Black Rower movement as a stimulus to cultural nationalism and revolutionary sentiment, and its transcendence to internationalism and socialism in the context of the Grenada Revolution. Abdul Malik straddles and exemplifies the creative dynamic which exists between urban, industrial Trinidad and its tiny, rural and poor neighbour, Grenada.

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Lagapa, Jason S. "Inarticulate prayers: Irony and religion in late twentieth-century poetry." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280295.

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Inarticulate Prayers: Irony and Religion in Late Twentieth-Century Poetry examines irony and its implications for religious belief within texts ranging from the New York School Poets to the Language Poets and, in Caribbean literature, within the poems of Derek Walcott and Kamau Brathwaite. Taking Jacques Derrida's distinction between deconstruction and negative theology as a point of departure, I argue that contemporary poets employ ironic language to articulate an ambivalent, and skeptical, system of belief. In "How to Avoid Speaking: Denials," Derrida contrasts his theory of differance--as a fundamentally negative and critical mode of inquiry--with negative theology, which ultimately affirms God's being after a process of negation. My study asserts that contemporary poets, in accord with principles of negative theology, engage in inarticulate, self-canceling and negative utterances that nevertheless affirm the possibility of belief and enlightenment. By postulating the affinity between contemporary poets and the apophatic tradition, I explain how the work of these poets, despite often being dismissed as arid exercises in poststructuralist thought, productively draws on linguistic theories and also advances beyond the "negativity" of such theories. Moreover, as it intervenes in recent debates over the absence of a spiritual dimension to contemporary poetry, my dissertation opens new perspectives through which to theorize postmodern literature. Demonstrating that experiments in language and form are driven by an ironic stance towards belief, authorship and literary tradition, Inarticulate Prayers ultimately redefines contemporary lyric and narrative poetry and asserts negation, inarticulateness, and contradiction as determining characteristics of postmodern writing.

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Galuska, John D. "Mapping creative interiors creative process narratives and individualized workscapes in the Jamaican dub poetry context /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3310395.

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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.
Title from PDF t.p. (viewed Dec. 9, 2008). Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1931. Advisers: John Johnson; Portia Maultsby.

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Hammond, Rhona Bobbi. "The influence of the classical tradition on the poetry of Derek Walcott." Thesis, Open University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368004.

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Moore, Dashiell. ""Our write-to-write": A Poetics of Encounter Across Aboriginal Australia and the Caribbean." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23760.

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Encounter narratives are often associated with the accounts of first contact between Europeans and the Indigenous inhabitants of New Worlds. However, they are also the means by which writers assert their self-determination from the coloniser. Notable examples can be found in the works of Martinique scholar Edouard Glissant, the late Barbados poet and scholar Edward Kamau Brathwaite, Yoogum and Kudjela poet Lionel Fogarty, and Yankunytjatjara poet Ali Cobby Eckermann. Each poet validates the encountered figure's right to refuse the reader's comprehension, a shared signature demonstrating their commitment to resist the self-Other tradition of Western metaphysics. This dissertation is the first scholarly effort to examine their works together and one of the first comparative studies of Aboriginal and Caribbean poetry; drawing out formal, conceptual, and historical affinities between these poets' projects. Aboriginal and Caribbean writings on the encounter are commonly framed by an overarching structural opposition between Caribbean rootlessness and Aboriginal rootedness. More provocatively, I suggest that a range of Aboriginal and Caribbean writers themselves affirm this structural opposition by portraying one another in obverse terms. In doing so, I resituate these poets in a host of new theoretical figurations that challenge the given cultural or political groupings with which their poetic extrapolations of the encounter are read, most notably the rootlessness of Caribbean literature and the rootedness of Aboriginal literature. Having shown that the rootless-rooted binary limits our understanding of the relational complexities of these poets' projects, I upend this opposition by reading from an inverted theoretical perspective: Brathwaite and Glissant as the forbears of an Indigenous literature, Fogarty and Eckermann as mobile writers in a planetary context.

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Adu-Gyamfi, Yaw. "Orality in writing, its cultural and political function in Anglophone African, African-Caribbean, and African-Canadian poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/NQ37868.pdf.

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Neigh, Janet Marina. "Rhythmic Literacy: Poetry, Reading and Public Voices in Black Atlantic Poetics." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/83661.

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English
Ph.D.
"Rhythmic Literacy: Poetry, Reading and Public Voices in Black Atlantic Poetics" analyzes the poetry of the African American Langston Hughes and the Jamaican Louise Bennett during the 1940s. Through an examination of the unique similarities of their poetic projects, namely their engagement of performance to build their audiences, their experiments with poetic personae to represent vernacular social voices, their doubleness as national and transnational figures, their circulation of poetry in radio and print journalism and their use of poetry as pedagogy to promote reading, this dissertation establishes a new perspective on the role of poetry in decolonizing language practices. While Hughes and Bennett are often celebrated for their representation of oral language and folk culture, this project reframes these critical discussions by drawing attention to how they engage performance to foster an embodied form of reading that draws on Creole knowledge systems, which I term rhythmic literacy. Growing up in the U.S and Jamaica in the early twentieth century, Hughes and Bennett were both subjected to a similar Anglophone transatlantic schoolroom poetry tradition, which they contend with as one of their only available poetic models. I argue that memorization and recitation practices play a formative role in the development of their poetic projects. As an enactment and metaphor for the dynamics of colonial control, this form of mimicry demonstrates to them the power of embodied performance to reclaim language from dominant forces. This dissertation reveals how black Atlantic poetics refashions the institutional uses of poetry in early twentieth-century U.S and British colonial education for the purposes of decolonization.
Temple University--Theses

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Upton, Corbett Earl 1970. "Canon and corpus: The making of American poetry." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11286.

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viii, 233 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This dissertation argues that certain iconic poems have shaped the canon of American poetry. Not merely "canonical" in the usual sense, iconic poems enjoy a special cultural sanction and influence; they have become discourses themselves, generating our notions about American poetry. By "iconic" I mean extraordinarily famous works like Henry Wadsworth Longfellow's "Paul Revere's Ride," Walt Whitman's "Song of Myself," and Claude McKay's "If We Must Die," that do not merely reside in the national memory but that have determined each poet's reception and thus have shaped the history of American poetry. Through case studies, I examine longstanding assumptions about these poets and the literary histories and myths surrounding their legendary texts. In carefully historicized readings of these and other iconic poems, I elucidate the pressure a single poem can exert on a poet's reputation and on American poetry broadly. I study the iconic poem in the context of the poet's corpus to demonstrate its role within the poet's oeuvre and the role assigned to it by canon makers. By tracing a poem's reception, I aim to identify the national, periodic, political, and formal boundaries these poems enforce and the distortions they create. Because iconic poems often direct and justify our inclusions and exclusions, they are of particular use in clarifying persistent obstacles to the canon reformation work of the last thirty years. While anthologies have become more inclusive in their selections and self-conscious about their ideological motives, many of the practices regarding individual poets and poems have remained unchanged over the last fifty years. Even as we include more poets in the canon, we often ironically do so by isolating a particular portion of the career, impulse in the work, or even a single poem, narrowing rather than expanding the horizon of our national literature. Through close readings situated in historical and cultural contexts, I illustrate the varying effects of iconic poems on the poet, other poems, and literary history.
Committee in charge: Dr. Karen J. Ford, Chair; Dr. John T. Gage, Member; Dr. Ernesto J. Martinez, Member; Dr. Leah W. Middlebrook, Outside Member

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Anthony, Patrick. ""Adam's task" the poetry of Derek Walcott and Caribbean theology (A study in the relationship between literature and Christian theology) /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Books on the topic "Caribbean poetry"

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1951-, Brown Stewart, ed. Caribbean poetry now. 2nd ed. London: Edward Arnold, 1992.

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1951-, Brown Stewart, ed. Caribbean poetry now. London: Hodder and Stoughton, 1986.

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Narain, deCaires. Contemporary Caribbean Women's Poetry. London: Taylor & Francis Group Plc, 2004.

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Agard, John, and Grace Nichols. A Caribbean dozen: Poems from Caribbean poets. Cambridge, Mass: Candlewick Press, 1994.

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Griffith, Paul A. Afro-Caribbean Poetry and Ritual. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529.

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Griffith, Paul A. Afro-Caribbean poetry and ritual. New York: Palgrave Macmillan, 2010.

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Kei, Miller, ed. New Caribbean poetry: An anthology. Manchester [England]: Carcanet, 2007.

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Adisa, Opal Palmer. Caribbean erotic: Poetry, prose & essays. Leeds, UK: Peepal Tree Press, 2010.

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Agard, John, and Grace Nichols. A Caribbean dozen. London: Walker, 2007.

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1933-, McDonald Ian, and Brown Stewart 1951-, eds. The Heinemann book of Caribbean poetry. Oxford: Heinemann, 1992.

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Book chapters on the topic "Caribbean poetry"

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Bonifacio, Ayendy. "Caribbean Poetry." In The Palgrave Encyclopedia of Victorian Women’s Writing, 249–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_329.

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Bonifacio, Ayendy. "Caribbean Poetry." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–5. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_329-1.

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Griffith, Paul A. "Introduction." In Afro-Caribbean Poetry and Ritual, 1–11. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_1.

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Griffith, Paul A. "The Limbo." In Afro-Caribbean Poetry and Ritual, 15–45. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_2.

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Griffith, Paul A. "Shipwrecked in the Middle Passage." In Afro-Caribbean Poetry and Ritual, 47–65. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_3.

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Griffith, Paul A. "Folk Masques." In Afro-Caribbean Poetry and Ritual, 67–83. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_4.

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Griffith, Paul A. "Mythic Voices." In Afro-Caribbean Poetry and Ritual, 87–107. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_5.

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Griffith, Paul A. "Lullabies and Children’s Games." In Afro-Caribbean Poetry and Ritual, 109–34. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_6.

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Griffith, Paul A. "Spiritual Adventure through Song." In Afro-Caribbean Poetry and Ritual, 135–57. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_7.

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Griffith, Paul A. "Tales and Fables." In Afro-Caribbean Poetry and Ritual, 159–87. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106529_8.

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Reports on the topic "Caribbean poetry"

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Lovelace, Earl. Welcoming Each Other: Cultural Transformation of the Caribbean in the 21st Century. Inter-American Development Bank, January 1998. http://dx.doi.org/10.18235/0007927.

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