Relevant bibliographies by topics / Ethiopian poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Ethiopian poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Ethiopian poetry"

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Haile, Getatchew. "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 321–39. http://dx.doi.org/10.3138/diaspora.15.2-3.321.

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This essay offers the first English-language translations of Amharic poetry written by Ethiopian immigrants to the United States. Following an introduction to the Amharic language and the central place of poetry in Ethiopian literature and cultural life, the author discusses the work of four poets. The poems of Tewodros Abebe, Amha Asfaw, Alemayehu Gebrehiwot, and Alemtsehay Wedajo make creative use of Ethiopian verbal constructions reminiscent of traditional war songs and verbal interrogations used in legal contexts. Many of the poems speak eloquently of the personal losses Ethiopians have suffered as a result of their departure from their homeland. The essay includes biographical and ethnographic details about the individual poets and various influences on their compositions. (April 2009)
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Ellingsen, Eric, Misrak Terefe, Abebaw Melaku, and Mihret Kebede. "A Suite of Contemporary Ethiopian Poetry." World Literature Today 89, no. 1 (2015): 27–29. http://dx.doi.org/10.1353/wlt.2015.0233.

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Eric Ellingsen, Misrak Terefe, Translated by Rike Scheffler, Abebaw Melaku, Translated by Eric Ellingsen, Translated by Jorga Mesfin, Mihret Kebede, and Translated by Uljana Wolf. "A Suite of Contemporary Ethiopian Poetry." World Literature Today 89, no. 1 (2015): 27. http://dx.doi.org/10.7588/worllitetoda.89.1.0027.

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Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.

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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.
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Haile, Getatchew. "Amharic Poetry of the Ethiopian Diaspora in America: A Sampler." Diaspora: A Journal of Transnational Studies 15, no. 2 (2006): 321–39. http://dx.doi.org/10.1353/dsp.2011.0069.

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Marzagora, Sara. "Songs We Learn from Trees: An Anthology of Ethiopian Amharic Poetry." Wasafiri 37, no. 3 (July 3, 2022): 112–13. http://dx.doi.org/10.1080/02690055.2022.2067301.

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Hiruie, Ermias. "The Amharic proverbs and their use in Gǝʿǝz Qǝne (Ethiopian poetry)." African Journal of History and Culture 12, no. 1 (January 31, 2020): 28–34. http://dx.doi.org/10.5897/ajhc2020.0474.

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Richter, Renate. "Fekade Azeze: Unheard Voices. Drought, Famine and God in Ethiopian Oral Poetry." Aethiopica 2 (August 6, 2013): 282–84. http://dx.doi.org/10.15460/aethiopica.2.1.557.

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Müller, Walter W. "Abasener und Adulis." Aethiopica 11 (April 26, 2012): 41–47. http://dx.doi.org/10.15460/aethiopica.11.1.142.

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The publication of the first volume of a new critical edition of the Ethnica of Stephanos of Byzantium gives occasion to enumerate the eleven toponyms on the Ethiopian side of the Erythraean Sea which are mentioned in this geographical lexicon. Furthermore an attempt is made to localize the Abasenoi, a tribe in Arabia, which are identical with the Ḥabašat, taking in account the agricultural products of their country. Concerning the harbour of Adulis, which is the origin of the ʿadawlī-ships in early Arabic poetry, further testimonies of this town in literary sources are adduced and a plausible South-Arabian etymology of the name Adulis is proposed.
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Girma, Mohammed. "Mind the Doxastic Space: Examining the Social Epistemology of the Ethiopian Wax and Gold Tradition." Religions 14, no. 9 (September 21, 2023): 1214. http://dx.doi.org/10.3390/rel14091214.

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The wax and gold tradition is mainly known as an Ethiopian literary system that plays with layers of meanings. It has also established itself as a system of knowledge and/or belief production and validation. However, its social ramifications have presented scholars with conundrums that divide their views. For some, it is an Ethiopian traditional society’s crowning achievement of erudition—a poetic form that infiltrated communication, psychology, and social interaction. For others, it is a breeding ground for social vices, i.e., mutual suspicion, deception, duplicity, etc., because its autochthonous nature means it is inept in terms of modernizing and unifying the society. In this essay, I aim to argue that there is one critical historical element that holds the key to the conflicting social ramifications of the wax and gold system and, yet, is neglected by both sides of the debate: the original doxastic space of qine (poetry) and sem ena werq (wax and gold system)—a hermeneutic tool that deciphers the meaning of poems. This literary system was born in the space of worship and liturgy. I will contend, therefore, that a shift of doxastic space from sacred to saeculum (the world) is the reason not only for the behavior of doxastic agents but also for the social outcome of the knowledge they create.
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Dissertations / Theses on the topic "Ethiopian poetry"

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Abdulsemed, Mohammed Hamidin. "ʼIntishār al-Islām fī al-Ḥabsha ʼathāruh wa-ʼabaʻaduh." Diss., 2015. http://hdl.handle.net/10500/22280.

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Arabic text with English summary
This research comprises a section on preliminary issues, an introduction, four chapters with sub-divisions and a conclusion. Preliminary issues focus on the research proposal. The introduction reviews factors contributing to the concealment of Muslims’ roles in Abyssinia through negligence, selective reportage and duplicitous political dealings. Chapter One tackles the varying definitions of Abyssinia diachronically and then provides valuable social, economic, political, religious and climatic information about the country and its peoples. Chapter Two analyses the varying levels of relations between Abyssinia and the Arabian Peninsula including the ethnic, cultural, linguistic, religious and political ties down the ages. Chapter Three discusses the migration of some of Prophet Muhammad’s companions to Abyssinia and possible reasons for selecting that land for settlement. It details identities of these people, their areas of arrival and domicile; together with a probe into the Christian ruler, Negus’s warm relations with them. Chapter Four overviews Muslim dynasties in Abyssinia: the causes for their formation, prosperity and decline. The bitter conflicts with Christians and followers of traditional religions are also explored; together with outcomes of these for Muslims up to the present. The Conclusion provides a resume of my most important findings.
Religious Studies and Arabic
M.A. (Islamic Studies)
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Books on the topic "Ethiopian poetry"

1

Tsegaw, Lemlem. The unheard voice: A selection of poems and essays. 2nd ed. Hampton, Va: U.B. & U.S. Communications Systems, 1994.

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2

ʼAzaza, Faqāda. Unheard voices: Drought, famine, and God in Ethiopian oral poetry. Addis Ababa, Ethiopia: Addis Ababa University Press, 1998.

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Tsegaw, Lemlem. A mother's eye view. [Chesapeake, VA?]: Abebe T. Memorial Press, 1997.

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Thomas Leiper Kane Collection (Library of Congress. Hebraic Section). YaGeʼez qenéyāt, yasenaṭebab qers: Nebābu kanateregwāméw. Addis Abāba: KaʼItyop̣yā qwānqwāwoč ʼakādémi, Bāhelenā sport gudāy ministér, 1988.

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Bilow, Kola, ed. Guji Oromo culture in southern Ethiopia: Religious capabilities in rituals and songs. Berlin: Dietrich Reimer, 1991.

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Borer, Alain. Rimbaud in Abyssinia. New York: William Morrow, 1991.

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Llewellyn, Sam. Clawhammer. London: Michael Joseph, 1993.

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Llewellyn, Sam. Clawhammer. London: Michael Joseph, 1993.

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9

Samuel, Johnson. The history of Rasselas, Prince of Abissinia. Peterborough, Ontario, Canada: Broadview Editions, 2008.

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Samuel, Johnson. Tarieekh Rasselas =: The history of Rasselas. Beirut: Al-Bihar, 2001.

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Book chapters on the topic "Ethiopian poetry"

1

Clossey, Luke. "20. Intimacy with Jesus." In Jesus and the Making of the Modern Mind, 1380-1520, 615–44. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0371.20.

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Three groups of Jesus cultists who made use of both kens to move themselves even closer to him, achieving a kind of intimacy that could become domestic and even sexual. We begin with a group of female mystics, from England to Ethiopia, who cultivated extraordinary marital relationships with Jesus. Second, the participants in the Modern Devotion lived in regulated communities, sometimes involving spiritual nudity and marriage alongside more modest activities like yarn-spinning and prayer. Finally, Hafiz of Shiraz and other Muslim poets (Mahmud Pasha Angelović, Mehmed II, Isa Necati, Qāsim-i Anwār, Mahmoud Shabestari) spun lyrics celebrating comely boys bearing stupor-inducing wine and life-giving Jesus-breath.
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Oba-Smidt, Chikage. "Poetry and Oral Historiography:." In Oral Traditions in Ethiopian Studies, 185–212. Harrassowitz, O, 2018. http://dx.doi.org/10.2307/j.ctvcm4fb5.12.

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Müller, Timo. "The Sonnet and Black Transnationalism in the 1930s." In The African American Sonnet, 57–74. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0004.

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While the transnational dimensions of the Harlem Renaissance are widely acknowledged, scholarly accounts often suggest that the Great Depression narrowed the scope of African American writing to localized concerns such as social improvement and folk expression. The chapter complicates this assumption by drawing attention to the little-known sonnets Claude McKay and Countee Cullen wrote in the 1930s, some of which remained unpublished until the early twenty-first century. These sonnets show that African American poetry sustained a range of transnational conversations throughout the 1930s. The chapter examines two such conversations: the negotiation of black travel around the Atlantic and the Mediterranean, and the Pan-Africanism incited by the Italo-Ethiopian War of 1935/36. Besides McKay and Cullen, the chapter considers sonnets by the neglected poets J. Harvey L. Baxter, Alpheus Butler, and Marcus Bruce Christian.
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Nurhussein, Nadia. "Recognizing the Ethiopian Flag." In Black Land, 21–50. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691190969.003.0002.

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This chapter uncovers the beginnings of a more grounded Ethiopianism in its treatment of nineteenth-century lyric verse by Walt Whitman, Paul Laurence Dunbar, and others written on the topic of Ethiopia, when abstract Ethiopianism was a prominent ideology in African America. It addresses the politics of Walt Whitman's poem, particularly in the poem's “recognition” of the Ethiopian flag, in light of the press's treatment of the Anglo-Abyssinian conflict. Paul Laurence Dunbar's interpretation of the Ethiopian flag's symbolic value, in “Ode to Ethiopia” and “Frederick Douglass,” positions him uncomfortably alongside Whitman, a poet he found distasteful. His poems present an “Ethiopia” invigorated with nationalism and, unexpectedly, with militarism. The chapter also talks about two poems about Emperor Tewodros by women: “Magdala,” which appeared in the 1875 book Songs of the Year and Other Poems by “Charlton,” and “The Death of King Theodore,” in E. Davidson's 1874 The Death of King Theodore and Other Poems.
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"I Came from Ethiopia." In American Yiddish Poetry, 135. University of California Press, 2023. http://dx.doi.org/10.2307/jj.5973112.37.

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Jackson, Virginia. "Coda." In Before Modernism, 232–42. Princeton University Press, 2023. http://dx.doi.org/10.23943/princeton/9780691232805.003.0006.

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This chapter examines how poetic reading publics generated by spontaneous collective generic recognition began to turn into poetic reading publics generated by individual vicarious identification as genres of poems began to be gradually and unevenly replaced by genres of persons. Over the next two centuries, the chapter highlights that genres of verse that everyone could recognize were replaced by genres of persons that everyone and no one could recognize. That gradual and uneven exchange would transform all poetry into lyric poetry. The chapter then turns to Watkins's early published poem, “Ethiopia,” in order to discern the expressive outlines of a version of Watkins Harper's poetics that has been hiding all along in plain sight. If this split screen promises to be dizzying, that vertigo seems an appropriate response to the racialized conditions of mid-nineteenth-century American poetics, conditions that eventuated in the invention of American lyric.
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Folsom, Ed. "Lucifer and Ethiopia: Whitman, Race, and Poetics before the Civil War and After." In A Historical Guide to Walt Whitman, 45–95. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195120813.003.0003.

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Abstract It would perhaps be nice if Walt Whitman, our great poet of an democracy, had possessed a spotless attitude toward e United States and if he had clearly and unambiguously espoused the equality of all individuals, regardless of race.1 But Whitman was a poet embedded in his times, and his times-not unlike our own-were a period of intense disagreement about the significance and importance of racial difference. His career demonstrates his struggle with his times-and with himself-over the issue of race in the United States, and, because of that, his work offers important insight into the ongoing struggle in America to create a unified society that nonetheless maintains and celebrates its diversity. One of the most instructive aspects of Whitman’s poetry is its inscription of the distance and slippage between ideals and reality. For all its lofty aspirations, Whitman’s poetry is embedded in the messy pragmatics of compromise and equivocation, and, because of that, we can hear within it some of the tensions at the heart of American history.
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Stafford, Fiona. "Seamus Heaney and the Caught Line." In Starting Lines in Scottish, Irish, and English Poetry, 292–327. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198186373.003.0007.

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Abstract In r 9 8 5 the pupils of Wesley College, Dublin, were so moved by the images of famine-stricken children in Ethiopia that they decided to join in the money-raising efforts by writing to a number of well-known people and asking them to name a favourite poem. The response was rapid and rewarding, and so a series of poetry collections was put together, whose proceeds went towards famine relief in the Third World. Some years later when Penguin Books agreed to publish a selection of the poems and letters, Seamus Heaney was asked to contribute a Fore­word.
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Landy, Francis. "Depression and the Oracles About the Nations." In Poetry, Catastrophe, and Hope in the Vision of Isaiah, 126—C4P151. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198856696.003.0004.

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Abstract Between ch. 13 and ch. 23 of Isaiah there is a series of ‘burdens’, or oracles, about foreign nations, all of whom will be subject to destruction and, in some cases, restoration. This chapter argues that the generic title ‘burden’ is a metaphor for the experience of depression accompanying prophecy. The Oracles about the Nations are remarkable for the prophet’s grief over their fate. The chapter borrows the term ‘experimental psychosis’ from Julia Kristeva to refer to the extraordinary, often onomatopoeic, alliterations which traverse the oracles, and which she sees as signs of psychic as well as linguistic breakdown. At the centre of the series there is a brief anecdote about the prophet who is commanded to walk naked and barefoot in token of the exile of Egypt and Ethiopia, a figure of utter marginality. The chapter concludes with the final oracle about Tyre, the maritime empire complementing the terrestrial one of Babylon.
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Schniedewind, William M. "Alphabets and Acrostics." In The Finger of the Scribe, 49–69. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052461.003.0003.

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The first school exercises were simple abecedaries teaching young scribes the order, shape, and sound of the letters. These exercises can be compared to early cuneiform exercises like the Syllable B lists and the TU-TA-TI exercises, which also trained young scribes in the basic sounds and shapes. The order and shape of letters were standardized in the early Iron Age, and different orders for the alphabet were introduced in Canaan and Egypt. The abgad order become normative for Phoenicia and Israel, and the halaḥam order was used in Egypt and South Semitic (e.g., Ethiopic, Old South Arabic). Alphabetic exercises were then adapted into acrostic poetry.
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