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1
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.
2
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?<br>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
3
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.
4
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.
5
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.
6
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.
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.
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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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).
10
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.
11
Bulcaen, Chris. "The dialogue of an author:." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-96426.
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In Swahili Forum III Elena Bertoncini-Zubkova (1996) discussed some of the political criticisms, expressed in the form of literary motifs and imagery, that emerged in the works of the Tanzanian Swahili writer Euphrase Kezilahabi since 1978 onwards. She situates this emergent critique in the new political discoursive context where critical reviews of the Ujamaa policy could now be publicly voiced since President Nyerere himself admitted the failure of Ujamaa in his delivery Azimio la Arusha baada ya Miaka Kumi (The Arusha Declaration Ten Years Later, 1977). According to Bertoncini this admission `clear[ed] the way for critical literary works` of which Kezilahabi satirical play Kaputula la Marx (Marx`s Shorts, 1978) and his short story Mayai- Waziri wa maradhi (Eggs- Minister of Sickness, 1978) were among the first.
12
Řehák, Vilém. "Kazimoto and Meursault: `Brothers´in despair and loneliness." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97684.
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Makala haya yanashughulikia maswahli ya udhanaishi katika fasihi ya Kiswahili. Makala yanalinganisha riwaya mbili, Mgeni ya mwandishi wa Kifaransa anayeitwa Albert Camus na Kichwamachi ya mwandishi wa Kiwahili, Euphrase Kezilahabi, na kuonyesha jinsi riwaya hizo zinayofanana na zinavyotofautiana. Kwa vile Kichwamaji inafanana na Mgeni, ni sahihi humwita Kezilahabi mwandishi ya udhanaishi, lakini kuna tofauti nyingi pia baina ya riwaya hizo mbili. Tofauti moja ni kwamba Albert Camus anamtazama mtu peke yake na hali yake iliyotengwa kabisa na watu wengine, na Kezilahabi, licha ya mtu peke yake, anaizingatia jamii nzima na hali yake vilevile. Tofauti hii ni tokeo la sifa za communalism katika mawazo Kiafrika ya kimapokeo yanayotilia mkazo jamaa na jami, siyo mtu peke yake<br>This article analyses and compares the the two writings Kichwamaji by Euphrase Kezilahabi and L´etranger by Albert Camus. Written in the tradition of existentialism, the two writings have many similarities but also differ in some important aspects. While Camus sees the individual just by itself, Kezilahabi also includes the whole family and is writing with it in the tradition of the african communalism
13
Bertoncini-Zúbková, Elena. "Mayai-waziri wa maradhi: magic realism in Euphrase Kezilahabi\'s long time unpublished short story." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90925.
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This article will present a short story which appeared in the newspaper Mzalendo on the 15th January 1978, but it took twenty-six years before it was published in a book. Presumably it was written in the same period as both the play Kaputula la Marx and probably also as some of Kezilahabi’s poems from the second collection Karibu ndani (1988). It is a period of his most critical works. In Mayai – Waziri wa Maradhi the author blames, in a highly symbolic manner, the leading classes of his country who became rich at the expense of common citizens during ten years of Independence, symbolized by ten emaciated ghostly children.
14
Bertoncini-Zúbková, Elena. "Mayai-waziri wa maradhi: magic realism in Euphrase Kezilahabi\'s long time unpublished short story." Swahili Forum 11 (2004) S. 39-44, 2004. https://ul.qucosa.de/id/qucosa%3A11484.
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This article will present a short story which appeared in the newspaper Mzalendo on the 15th January 1978, but it took twenty-six years before it was published in a book. Presumably it was written in the same period as both the play Kaputula la Marx and probably also as some of Kezilahabi’s poems from the second collection Karibu ndani (1988). It is a period of his most critical works. In Mayai – Waziri wa Maradhi the author blames, in a highly symbolic manner, the leading classes of his country who became rich at the expense of common citizens during ten years of Independence, symbolized by ten emaciated ghostly children.
15
Bertoncini-Zubkova, Elena. "Marx`s shorts and ancestors` caves:: Tracing critical motifs in Kezilahabi`s play and poems." Swahili Forum; 3 (1996), S. 139-148, 1996. https://ul.qucosa.de/id/qucosa%3A11637.
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The only play by Kezilahabi, Marx`s shorts, is a political satire, so pungent that it has not yet been published, although its photocopied manuscript has been in circulation for almost twenty years (it is dated 1978). Probably it was written soon after Julius Nyerere`s pamphlet Azzmio la Arusha baada ya Miaka Kumi (1977), where he overtly admitted for the first time the failure of his policy, clearing the way for critical literary works.
16
Mbatiah, Mwenda. "Deviation as communicative strategy in Gamba la nyoka." Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-107475.
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This article deals with deviation in Euphrase Kezilahabi´s novel Gamba la Nyoka (1979). We analyse four different types of deviation, namely grammatical, lexical, phonological, and semantic deviation. The objective of this study is to combine linguistic analysis with literary riticism, in order to show how these different types of deviation correspond with the overall message the author conveys in this novel, which is a political novel dealing with the era of establishing Ujamaa policies in rural Tanzania.
17
Bertoncini-Zubkova, Elena. "Marx`s shorts and ancestors` caves:." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-95567.
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The only play by Kezilahabi, Marx`s shorts, is a political satire, so pungent that it has not yet been published, although its photocopied manuscript has been in circulation for almost twenty years (it is dated 1978). Probably it was written soon after Julius Nyerere`s pamphlet Azzmio la Arusha baada ya Miaka Kumi (1977), where he overtly admitted for the first time the failure of his policy, clearing the way for critical literary works.
18
Rettová, Alena. "Afrophone philosophies: possibilities and practice. The reflexion of philosophical influences in Euphrase Kezilahabi's Nagona and Mzingile." Swahili Forum 11 (2004) S. 45-68, 2004. https://ul.qucosa.de/id/qucosa%3A11489.
Full textAbstract:
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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Diegner, Lutz. "Intertextuality in the contemporary Swahili novel: Euphrase Kezilahabi`s Nagona and William E. Mkufya`s Ziraili na Zirani." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91226.
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This paper deals with intertextuality in two contemporary Swahili novels: Euphrase Kezilahabi`s Nagona (1987/1990) and William E. Mkufya`s Ziraili na Zirani (1999). It is a first approach to intertextual relations between these two novels. My aim is to show how the contemporary Swahili novel has further opened up its scope to universal questions of mankind.
Nagona describes the journey of an unnamed protagonist through strangely abandoned landscapes and his surrealistic experience. It is written in a puzzling style between realism and hallucination. The second work, Ziraili na Zirani, is a novel written in the style of an epic. Dwelling on its literary role models, which are Dante`s Divina Commedia (1312-1321) and Milton`s Paradise Lost (1658-1665), it describes the battle over religion. It takes the reader on a fantastic journey between heaven, paradise and hell, with several excursions to the historical and contemporary malices and catastrophes on earth.
20
Mlacha, S. A. K. "The portryal of cultural conflict in Kiswahili prose fiction; a structural study of the novels of Euphrase Kezilahabi." Thesis, SOAS, University of London, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516853.
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Any study of Kiswahili prose fiction shows that there is a wide spread portrayal of conflicts existing between the traditional and the modern culture in the East African societies. This thesis looks at the portrayal of these conflicts in the novels of Euphrase Kezilahabi, who is one of the most prominent contemporary Swahili fiction writers. In the thesis I have studied Kezilahabi's novels from a story structuralist point of view and a more stylistic point of view. In this case I was able to combine both the traditional literary analysis of plot, theme, character and language with more sophisticated approaches as well as with computational linguistic techniques. The whole thesis has eight chapters. The first chapter, which is the introduction, looks at how prose fiction has been used in many parts of the world to portray the social problems of societies at particular historical moments. Attention is paid to Commonwealth and African Literature as well as Swahili Literature. The second chapter is a structural approach to the content and meaning of Kezilahabi's novels. It is from this study that the underlying theme is perceived, characters and other minor themes identified. The relationship between characters and their place and role in the development of the story has been discussed in chapter three. This chapter also looks at the characters' contribution to the themes and their relationship with the semantic structure. In chapter four, the themes identified in the discussion above were then looked at in detail independently and in relation to themselves, the characters and the development of the story. Kezilahabi's use of language and imagery seemed to be very important in the study of his work. Chapter five dealt with his use of imagery and compared his story structure with that of folk tales in an attempt to see if he was influenced by the oral tradition. A computational analysis of the verbs he uses is done in chapter six while other grammatical devices like time relaters, place definers and connectives are discussed in detail in chapter seven. Chapter eight, which is the concluding chapter, discusses Kezilahabi's fourth novel in relation to the issues highlighted in the thesis.
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Elvidge, Charlotte E. S. "“Time is a wall”: a spectrum representation of traditions and modernities." Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-107456.
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This paper looks at traditions and modernities in terms of a spectrum representation and thus challenges the previously accepted notion of tradition and modernity as an either/or matter where tradition is seen to hold obstacles assumed to block progression towards modernity. With this in mind, it considers Ebrahim Hussein´s title for his play Wakati Ukuta (Time is a Wall) and Euphrase Kezilahabi´s novel Gamba la Nyoka (The snake´s skin) to illustrate the idea of multiple modernities where the relationship between tradition and modernity is seen in terms of tension between cultural homogenisation and cultural heterogenisation where various ´scapes´ containing traditions are inflected by historical, linguistic and political situatedness of different actors. Key themes are discussed in this paper displaying the indigenised ethnoscape of East Africa with various modernities and the different tensions this can produce in view of long-standing traditions. Individualism is the prevailing theme in the emergence of modernity. With this in mind, extramarital relationships, foreign behaviours, education and age/generational differences are discussed with reference to the two literary texts. These themes exemplify the thematic trajectory of the spectrum representation of traditions and modernities in Swahili literature, showing belonging to the present but also awareness of the past. This paper concludes that modernities should no longer be seen as a foreign invasion aiming to eradicate tradition but as metropolises that can be indigenised and incorporated into existing traditions. The observations in this paper demonstrate that the link between traditions and modernities is not a direct transition from one to the other but one of more complex affiliation. This paper lays foundations for broader research into this relationship and gives new insight into the illustration and critique of various texts.
22
Onoda, Fuko. "Circular motifs and structure in Euphrase Kezilahabi’s Nagona and Mzingile and an ongoing Buddhistic study." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220441.
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Nagona na Mzingile, riwaya za mwandishi wa Kiswahili Euphrase Kezilahabi, zinasemekana kuwa na mtindo wa kipekee wa usimuliaji, na simulizi changamano ambalo si rahisi kueleweka. Makala haya yamezichukulia riwaya hizo mbili kama hadithi moja, na kuchunguza muundo wa fumbo unaosababisha upekee wa riwaya hizo. Muundo huo utafunuliwa kuwa ni duara inayorudia uhai na ufu. Nitajaribu kuelewa muundo huo wa duara kutumia fikra ya mwanafalsafa wa dini, Mircea Eliade, na dini ya Ubudha<br>Nagona and Mzingile, written by a Swahili author Euphrase Kezilahabi, have been considered to have the unique narrative style and complex storyline, which make the novels difficult to understand. This article regards these two novels as a single inner-connected story to reveal a hidden structure, which makes the novels unique. This structure turns out to be a cycle which regularly repeats birth and death. I will try to analyse this circular structure by using thoughts of a theologian Mircea Eliade and Buddhism
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Kipacha, Ahmad. "Uchuro katika nathari teule za Euphrase Kezilahabi." 2017. https://ul.qucosa.de/id/qucosa%3A32889.
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This paper analyses signs of ill-omen in the selected literary Swahili prose of Euphrase Kezilahabi published between 1971-1991. We interrogate their indicative interpretation as foregrounded by the author. We shall specifically concentrate on how he artistically exploits the entrenched ill-omen belief system of his society to drive his themes and artistic techniques. Though critics have analysed some elements of literary symbolism in the works of Euphrase Kezilahabi, this paper, in particular, concentrates on the exploration of signs of ill-omen scattered in several of his prose works.
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Gaudioso, Roberto. "To the eternal presence of poetry, to Euphrase Kezilahabi." 2020. https://ul.qucosa.de/id/qucosa%3A72133.
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Euphrase Kezilahabi, outstanding Swahili writer, thinker and scholar who was born on 13 April, 1944, passed away on 9 January, 2020. In this obituary, Roberto Gaudioso pays homage to his path-breaking achievements in Swahili creative literature by highlighting his poetry which Gaudioso has studied in depth. He emphasizes that the late Kezilahabi’s contribution as an intellectual and a poet goes beyond limits of space and time, as is shown by generations of researchers and translators who have been working on him.
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Kahigi, Kulikoyela K. "Sitiari katika Kichomi – Uchambuzi wa Mojawapo ya Mbinu za Kifasihi za Euphrase Kezilahabi*." 2020. https://ul.qucosa.de/id/qucosa%3A72136.
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Makala hii inachambua sitiari katika Kichomi, diwani ya kwanza ya marehemu Euphrase Kezilahabi. Mashairi yaliyochunguzwa yanahusika na dhamira tatu za kijumla: maana ya maisha, udhalimu wa kikoloni, na hali ya sasa ya Afrika. Mashairi yanayochambuliwa ni: “Nimechoka”, “Mwamba Ziwani”, “Fungueni Mlango”, na “Kisu Mkononi” (dhamira ya “maana ya maisha”); “Hadithi ya Mzee” (dhamira ya “udhalimu wa kikoloni”); “Afrika na Watu Wake”, “Kumbe”, na “Namagondo” (hali ya sasa ya Afrika). Mashairi haya yako kwenye muundo usiofuata urari wa vina na mizani. Lengo la makala hii si kufanya uchambuzi wa kina bali ni kuonyesha kuwa sitiari ni mbinu ya msingi ya mshairi katika kuwasilisha maana na mtazamo wake katika dhamira kadhaa. Nimeteua mashairi hayo tu ili kudhihirisha mbinu ya kisitiari katika dhamira zilizotajwa. Uchambuzi wa sitiari umezingatia mkabala wa kisemantiki unaotambua vipengele vitatu katika muundo wa sitiari: kifananishi, kitajwa na kiungo (taz. Richards 1936; Leech 1969). Hitimisho muhimu ni kwamba sitiari ni mbinu inayoyawezesha mashairi hayo kuchanuza mawazo na hisia kwa uwazi na athari nzito.<br>This article analyses metaphors in Kichomi, the first collection of poems by the late Euphrase Kezilahabi. The poems analysed deal with the following main themes: the meaning of life, colonial oppression, and the current state of Africa. The poems under discussion are: “Nimechoka” (I Am Tired), “Mwamba Ziwani” (Rock in Lake), “Fungueni Mlango” (Open the Door), na “Kisu Mkononi” (Knife in Hand; theme: meaning of life); “Hadithi ya Mzee” (An Old Man’s Tale) (theme: colonial oppression); “Afrika na Watu Wake” (Africa and Its People), “Kumbe” (That’s Why ), and “Namagondo” (Namagondo; theme: current state of Africa). The structure of these poems does not follow the conventional rules of metre and rhyme. The aim of this article is not a thorough analysis, but to show that metaphor is a fundamental device for the poet to present meaning and his view concerning a variety of themes. I have selected these poems only in order to make the device of metaphor clear concerning the mentioned themes. The analysis proceeds on a semantic approach which recognizes three aspects of metaphor: vehicle, tenor and ground (cf. Richards (1936); Leech (1969:153-56)). An important conclusion is that metaphor is a device which enables the poems to evoke thoughts and feelings in a candid manner and with a deep impact.
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Telento, Serena. "Ushairi na uhuru. Poesie scelte di Abdilatif Abdalla e Euphrase Kezilahabi. Mkusanyo wa tungo za Abdilatif Abdalla e Euphrase Kezilahabi. Curatori e traduttori. Wahariri na wafasiri Flavia Aiello e Roberto Gaudioso. Napoli, 2017: Review." 2017. https://ul.qucosa.de/id/qucosa%3A32899.
Full textAbstract:
This book constitutes a precious resource for scholars interested in Swahili poetry, literary translation and comparative literature. In my view, two fundamental sources of potential arise from the volume. Firstly, even if its release as an academic publication would probably mean distribution on a small scale, the translation of these creative writings into Italian contribute to enhancing the visibility and presence of Swahili literature in the international literary market. Secondly, the publication of the translation into Italian might be an important factor in promoting exchange between the fields of Swahili literature and the comparative criticism of African-language literatures in Italy.
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Diegner, Lutz. "Die Ausweitung der Gesellschaftskritik in den swahilisprachigen Romanen von Euphrase Kezilahabi und Said Ahmed Mohamed." 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017749620&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Gromov, Mikhail. "Blowing the Summoning Horn: Euphrase Kezilahabi, Kithaka wa Mberia and Self-translation in Modern Swahili Poetry." 2018. https://ul.qucosa.de/id/qucosa%3A35328.
Full textAbstract:
This article compares two cases of poetic self-translation in two different periods in the development of modern Swahili literature – Euphrase Kezilahabi in Tanzania of the 1970s and Kithaka wa Mberia in Kenya of the 2000s. These writers represent two different literary situations and two different statuses that Swahili literature had achieved in the respective periods. The main argument in the article is that the two writers in their works seem to have a similar aim – to familiarise wider audiences on the national level with elitist poetic forms. The differences in both cases are determined by the specific socio-cultural context.
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Aiello, Flavia. "Review: Roberto Gaudioso. The Voice of the Text and its Body. The Continuous Reform of Euphrase Kezilahabi’s Poetics. Rüdiger Köppe Verlag, Köln 2019. 306 pp. ISBN 978-3-89645-739-4." 2020. https://ul.qucosa.de/id/qucosa%3A72139.
Full textAbstract:
In her review, Flavia Aiello states that Roberto Gaudioso’s monograph, his PhD thesis written under the co-tutelle of the University of Naples “L’Orientale” and the University of Bayreuth, is a robust study of Euphrase Kezilahabi’s dynamic “thinking poetry” as expressed in his poetry collections. She emphasizes that due to its well-informed theoretical grounding, original critical approach to Kezilahabi’s poetry and close-reading textual analysis, this book represents valuable reading for literary researchers investigating the works of Euphrase Kezilahabi and for scholars interested in new critical approaches to Swahili poetry.
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Garnier, Xavier. "Translating Kezilahabi's Nagona and Mzingile into French." 2018. https://ul.qucosa.de/id/qucosa%3A35327.
Full textAbstract:
Translating a Swahili literary work into French poses specific problems due to the small number of translations existing so far and the imaginary representations associated with these two languages in the translator’s mind. In the case of Euphrase Kezilahabi’s novels Nagona (1990) and Mzingile (1991), the task is complicated by the very peculiar nature of these narratives, whose apocalyptic substratum does not refer to an identifiable cultural universe but to the interstitial space between a world condemned to die and a world yet to be born. In this article I will provide some insights from my experience of translation of these two Swahili novels.
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Gaudioso, Roberto. "When Words Go Beyond Words: Notes on a Hermeneutical and Sensualistic Approach to Text and Translation in the Poems of Kezilahabi and Leopardi." 2018. https://ul.qucosa.de/id/qucosa%3A35325.
Full textAbstract:
In this paper, I propose translation as a main tool for a sensualistic and hermeneutical approach to texts. In agreement with the writer and thinker Euphrase Kezilahabi, who claims that the text has to be considered as a living event, I propose to look at a text not as an object but as a living body. I ague that this approach reduces the distance between the body of the text and that of the reader. Perception can thus be used as a means to know and critique a literary text. I present a multifocal sensualistic analysis based on an analogical idea of knowledge, taking translation as a tool to push the critic to focus on the text word for word (not excluding the paratext or the context). The translations discussed here are poems by Kezilahabi and a proposal for a Swahili translation of the poem L’infinito by the Italian poet Giacomo Leopardi.