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Relevant bibliographies by topics / Kezilahabi

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Academic literature on the topic 'Kezilahabi'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Kezilahabi"

1

Rettová, Alena. "Translation as destruction: Kezilahabi's adaptation of Heidegger's “Being”." Bulletin of the School of Oriental and African Studies 81, no. 3 (October 2018): 439–57. http://dx.doi.org/10.1017/s0041977x18001003.

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AbstractTanzanian novelist and philosopher Euphrase Kezilahabi strives to “dismantle the resemblance of language to the world” (1985: 216) through challenging the fundamental philosophical dichotomy of subject and object. The result of this dismantling will be a new “language whose foundation is Being” (Kezilahabi 1991: 69; lugha ambayo msingi wake ni kuwako). This is an expression of a new relationship between humanity and Being built on a holistic epistemology of experience and embodiment. Through “kuwako”, Kezilahabi expresses in Swahili the Heideggerian concept of Sein (Being). His adherence to Heidegger, however, puts him at risk of compromising the very foundation of his own philosophy: his continued critique of essentialism. This article argues that Kezilahabi salvages his concept of “kuwako” from these essentialist pitfalls precisely through his declared “destructive rather than deconstructive stand vis-à-vis the Western philosophy of value and representation” (Kezilahabi 1985: 4). The destruction is implemented on the thematic level: a phase of “vurumai” (chaos) which destroys previous traditions of philosophy is staged in Nagona. However, translation is an even more powerful device to carry out this destruction: “kuwako” is not an innocent reiteration but a radical reformulation of Heidegger's central philosophical concept, decisively informed by Kezilahabi's lifelong propensity for existentialism.

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Mwangi, Iribe. "Euphrase Kezilahabi (1944–2020)." Tydskrif vir Letterkunde 58, no. 1 (May 25, 2021): 160–61. http://dx.doi.org/10.17159/tl.v58i1.10429.

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3

Kipacha, Ahmad. "Ushairi Msemele na Ubidaa wa Euphrase Kezilahabi Katika Dhifa." Eastern African Literary and Cultural Studies 5, no. 3-4 (October 2, 2019): 155–69. http://dx.doi.org/10.1080/23277408.2018.1517455.

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Garnier, Xavier. "L’espace initiatique existe-t-il ? Étude de deux romans swahilis d’E. Kezilahabi." Journal des Africanistes, no. 79-2 (April 1, 2009): 285–95. http://dx.doi.org/10.4000/africanistes.3069.

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Garnier, Xavier. "Traduire le swahili en français. À propos de Nagona et Mzingile d’Euphrase Kezilahabi." Études littéraires africaines, no. 34 (2012): 19. http://dx.doi.org/10.7202/1018474ar.

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Aiello, Flavia. "Ranne, Katriina: The Image of Water in the Poetry of Euphrase Kezilahabi. 2016." Orientalistische Literaturzeitung 113, no. 2 (June 5, 2018): 183–84. http://dx.doi.org/10.1515/olzg-2018-0059.

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7

Gaudioso, Roberto. "A Literary Approach to Avoiding Objectification of the Text: Reading Kezilahabi and Beyond." Annali Sezione Orientale 77, no. 1-2 (June 21, 2017): 3–32. http://dx.doi.org/10.1163/24685631-12340024.

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It is well known that, in contemporary studies, the cultural and post-colonial critique mainly focuses on the context of art and literature. My paper highlights the importance of a newWerkimmanente Interpretation, which focuses on the textquaaesthetic process. Thus, in other words, the text will be considered as a living event, meaning an experience of senses and knowledge. The text should be the centre of different hermeneutic approaches which involve translation and comparison, reader’s reception, theories of knowledge, immanent interpretation of the text and literary language. Translation is not only a product, but a process of comprehension (incorporation) and restitution (incarnation) of a text through the constitution of an analogue. This paper intends to propose a multi-systematic mode of poetry analysis, related especially to the poetics of the Swahili writer Euphrase Kezilahabi.

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Gaudioso, Roberto. "Review of Katriina Ranne: The Image of Water in the Poetry of Euphrase Kezilahabi." Studia Orientalia Electronica 6 (June 7, 2018): 20–22. http://dx.doi.org/10.23993/store.69724.

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Frolova, Natalya S. "Swahili Terminology in the Context of the Development of the Versification Theory and “Dispute about Poetry”." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 4 (2020): 505–20. http://dx.doi.org/10.21638/spbu13.2020.403.

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The article discusses the problem of the development of a scientific approach and Swahili terminology by national Swahili literary science in the context of the emergence of new Swahili poetry in the 1970s against the background of prevailing traditional genres, as well as the comprehension, interpretation and application of this terminology by scientists. Born at the end of the 19th century among European missionaries and scholars, the theory of Swahili versification continued to develop in European-language works until the 1950s when the first critical essay on Swahili versification by the traditional poet Amri Abedi appeared. The emergence of new Swahili poetry in the mid-1970s against the background of traditional genres not only produced the well-known mgogoro wa ushairi (dispute about poetry), but also required the comprehension of poetry itself and Swahili literature as a whole. An important role in this process was the priority of developing a unified scientific approach, as well as Swahili terminology. The emergence of a new Swahili-language poetry embodied in the works of Kezilahabi, Mulokozi, Kahigi and others, from the very beginning posed the task of naming this kind of poetry. The article focuses on the unsettled nature of certain Swahili poetry terms denoting new, modernist, Swahili poetry, a reflection of which is shown by the evident heterogeneity of their use in the studies of literary Swahili scholars of the 2000–2010s.

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Kipacha, Ahmad. "Gnomic Poetry and Innovation in Euphrase Kezilahabi’s Dhifa." Eastern African Literary and Cultural Studies 5, no. 3-4 (October 2, 2019): 258–73. http://dx.doi.org/10.1080/23277408.2019.1680918.

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Dissertations / Theses on the topic "Kezilahabi"

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Diegner, Lutz. "Allegories in Euphrase Kezilahabi`s early novels." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91373.

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The aim of this article is to analyse allegories in the first four novels of the Swahili-writing author Euphrase Kezilahabi who is one of the most renowned authors in contemporary Tanzania. This analysis will be based on allegory as it is defined in literary studies. What is aimed at with this study is a hermeneutical interpretative approach to the allegories found in Kezilahabi`s early novels which shall be based on as much contexts as available: text-context, intertextual context, cultural context, historical context, only to mention the most important (cf. Mohlig 1994: 257). The text-context or co-text, however, is considered as the most reliable basis of such a study.

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Sakkos, Tiina. "Existentialism and feminism in Kezilahabi`s novel Kichwamaji." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94160.

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Makala hii inachambua riwaya ya pili ya mwandishi maarufu wa Kiswahili, Euphrase Kezilahabi (*1944) iitwayo Kichwamaji (1974). Inajaribu kuzingatia mikondo miwili ya uchambuzi yaani inajadili kwa ufupi nadharia ipi au mkondo upi wa kimawazo unafaa zaidi katika kuichambua riwaya hiyo: udhanaishi au ufeministi. Je, inawezekana kuunganisha yote mawili?
In this essay, I would like to analyse the novel Kichwamaji (‘Empty-head’; 1974) by the well-known Tanzanian writer Euphrase Kezilahabi against the background of two philosophical theories: existentialism and feminism. I will first discuss existentialism and the existentialist elements in the novel. Then I will present feminist theory and focus on the female characters in Kichwamaji. I will argue that a feminist reading of the novel is impossible due to its predominant existentialist character

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Mezger, Sonja. "Roman Catholic faith represented in Kezilahabi`s Mzingile." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91383.

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This study elaborates how Kezilahabi depicts elements of Roman Catholic faith in his book Mzingile. Throughout the book religious institutions and the image of God are deconstructed. Nevertheless, Kezilahabi uses images derived from the Bible and Roman Catholic rituals to describe the new world order. This leads to the conclusion that the recognition of the existence of these concepts as concepts opens the way for the creation of a new world. Kezilahabi seems not to be convinced of the Roman Catholic faith being useful in search of the meaning of life. He rather builds upon the creative space, the emptiness left after the deconstruction of religious concepts.

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Acquaviva, Graziella. "Janzanda ya njozi katika baadhi ya mashairi ya Euphrase Kezilahabi." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94936.

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This article is based upon the following concept: Poetry is a chain of representation of the sub-conscience that is the creative source. We can read the poetic text in many ways, but if we imagine the text as the stage of images, we can understand the fundamental abstraction of the conscience. In this sense, oneiric images in some of Euphrase Kezilahabi’s poems will be analysed by using insights from psychoanalytic theory.

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Wamitila, Kyallo Wadi. "A philosophical labyrinth: tracing two critical motifs in Kezilahabi´s prose works." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-93522.

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This study aims at studying one of the most important contemporary Kiswahili writers: Euphrase Kezilahabi. In a way this paper can be seen as a continuation of my earlier articles on the same writer. It is definitely different from the other ones though a certain thread links them: the interest in Kezilahabi`s philosophy. In this paper my interest is with two main motifs namely contemptus mundi and carpe diem. Contemptus mundi is a Latin expression for contemptible world, world as a bad place and one that is perceived contemptuously. I intend to explore the said motifs in Kezilahabi\'s prose works: Rosa Mistika, Kichwamaji, Gamba la Nyoka, Dunia Uwanja wa Fujo, Nagana and Mzingile. The latter two works are slightly short, lacking the novel length of the other four works. I do not, however, want to entangle myself in the polemics of genre as to what a novel or novella is. I will, however, regard the two as novellas at least by the virtue of their length.

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Gaudioso, Roberto. "Kuwako na wakati: mipaka ya lugha kama hatua za falsafa katika mashairi ya Euphrase Kezilahabi." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-162808.

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This paper is a contribution to the 26th Swahili Colloquium in Bayreuth 2013. As the main theme of the conference was Tafsiri ‘Translations’, an analysis of Euphrase Kezilahabi’s poetry will be present-ed, with particular focus on the limits of both language and translation. Looking at the linguistic prop-erties of Kezilahabi’s poetry these linguistic limits seem to represent the various stages of his philoso-phy; in this journey language is the means and the goal itself as it is an important unit of existence. Kezilahabi transfers many ´African´and Swahili elements from past to present and he transfers for-eign elements, from outside to inside, written anew and revived through the poet’s words. This analysis will consider the poetic word as a result of this comparison. The poetic of Euphrase Kezilahabi is also an original result of a comparison between his culture and literature and foreign literature.

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7

Gromov, Mikhail D. "Nagona and Mzingile - novel, tale or parable?" Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-93517.

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Since the very moment of their appearance two recent works of Euphrase Kezilahabi- Nagana (1990) and Mzingile (1991)- hold a very special place in the whole development ofKiswahili literature, giving a lot of puzzles for the reader and a lot of material for the scholars of literature. I\' m going to dwell upon only one aspect of the book - its generic origin; for I think that this question will sooner or later arise. To this effect, I would dare first narrate - very briefly - the contents of the book I would refer to it as `the book´, although it actually consists of two parts - but these parts are so closely related to each other, that it seems possible to speak of Nagana and Mzingile as one piece of work. To what literary genre shall we ascribe the latest work of Tanzania` s leading writer? I would dare to come forward with such a question, because within the structure of the book there seem to be at least four more or less easily tangible stylistic plans. The first one I would call a folkloristic plan, for Kezilahabi uses widely and vividly the elements of African folklore - from mythological concepts to folklore plots, inserted into the narration. The second stylistic plan of the book can be called that of a parable - a parable in the sense of a self-contained story conveying didactic message to a reader or a listener. The book is full of such stories. The next stylistic plan one can call that of science-fiction - or, I would rather say, of antiutopia, for the author draws apocalyptic pictures of the world after the nuclear war, implyin the technique inherent to science-fiction novels. Finally, another stylistic plan of the book can be called realistic - for the author gives, for example, the descriptions of modern city, where the Msichana-Mwokozi dwells, or of an African village, when he tells about the childhood of the main character, using the traditions of east African realistic novel, portraying shortly but vividly urban and rural life. I would say that this realistic plan takes smaller place than the other three - but it is by no means less noticeable.

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8

Rosenberg, Aaron Louis. "Tegeni masikio: composing East African realities through young eyes." Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-107414.

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At times creative writing has been employed by Tanzanians in order to demonstrate the progress of African peoples and to reflect the changes, or lack of them, in this society. Popular songs are another continually vibrant medium of intellectual exchange which appeals to various sectors of the Tanzanian populace. Such oral and written works, directed as they are to local and intra-national audiences, are most often created in the Swahili language. The relatively young age of Tanzania’s population, with nearly 65 percent of the population under 25 years of age has brought about a situation in which this young and dynamic population is increasingly seeing their voice and interests represented in literary and aural/oral works. What are the themes and strategies utilized by such songwriters and literary artists and what are their trajectories of dissemination, consumption and activation within Tanzanian social contexts?

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9

Rettová, Alena. "Afrophone philosophies: possibilities and practice. The reflexion of philosophical influences in Euphrase Kezilahabi's Nagona and Mzingile." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90995.

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The paper is divided into two parts. In the first part, the basic concepts, such as “African philosophy” and “Afrophone philosophies”, their relationship and the general context of the debate on “African philosophy” will be defined. The author anticipate her definition here and says that “Afrophone philosophies”are those discourses that are the medium of philosophical reflexion in a given culture. Thus in the second part of the paper, Alena Rettová concentrates on one specific case of a philosophical reflexion, that of reflecting philosophical influences in the late works of Euphrase Kezilahabi, Nagona (1990) and Mzingile (1991).

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Lanfranchi, Benedetta. "Daring to be destructive. Euphrase Kezilahabi’s onto-criticism." Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-107438.

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This paper illustrates the ways in which Kezilahabi’s 1985 dissertation makes its own daring contribution to the field of aesthetic criticism through the proposition of a new critical approach to African literature. Kezilahabi’s starting point for the elaboration this new critical approach is the realization of a prevailing tendency among literary critics to read African literature against formal and aesthetic paradigms deeply rooted in the Western literary and philosophical traditions. Opposed to the adoption of interpretative frames that do not acknowledge the philosophical implications involved in literary analysis, Kezilahabi affirms the importance of approaching literary production from within the artistic and philosophical tradition it stems from. Inspired by hermeneutic philosophy, especially in its “ontological turn” embodied by the philosophy of Martin Heidegger, Kezilahabi’s focus is on literary interpretation as an ontological enterprise aimed at “situating” literature within a horizon of understanding where its proper universe of references can be disclosed.

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Book chapters on the topic "Kezilahabi"

1

Diegner, Lutz. "Kezilahabi, Euphrase." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10827-1.

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Diegner, Lutz. "Kezilahabi, Euphrase: Kichomi." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10829-1.

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Diegner, Lutz. "Kezilahabi, Euphrase: Rosa Mistika." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10828-1.

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Diegner, Lutz. "Kezilahabi, Euphrase: Nagona. Mzingile." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10830-1.

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