To see the other types of publications on this topic, follow the link: Negro poetry.
Journal articles on the topic 'Negro poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Negro poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Glaser, Ben. "Folk Iambics: Prosody, Vestiges, and Sterling Brown's Outline for the Study of the Poetry of American Negroes." PMLA/Publications of the Modern Language Association of America 129, no. 3 (May 2014): 417–34. http://dx.doi.org/10.1632/pmla.2014.129.3.417.
Full textAbstract:
Studies of the New Negro Renaissance have long emphasized the emergence in black poetry of the vernacular and of folk-oriented rhythms in particular. Sterling Brown's critical work and poetry show, however, that traditional English meters had a central role in the discourse and poetics of New Negro poetry. Reading his 1931 Outline for the Study of the Poetry of American Negroes together with James Weldon Johnson's Book of American Negro Poetry (1922) suggests that these meters counteracted dominant racialized ideas about black bodies, rhythms, and song. The polymetrical surface of Brown's own early poem “When de Saints Go Ma'ching Home” (1927) reveals that Brown treated iambic pentameter as a vernacular form, destabilizing entrenched divisions between conventional and innovative, white and black, past and present. Future studies of black poetry might therefore look to prosodic hybridity as a powerful critique of audience ideology.
2
Hughes, Langston. "200 Years of American Negro Poetry." Transition, no. 75/76 (1997): 90. http://dx.doi.org/10.2307/2935394.
Full text
3
Girard, Melissa. "J. Saunders Redding and the “Surrender” of African American Women's Poetry." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 281–97. http://dx.doi.org/10.1632/pmla.2017.132.2.281.
Full textAbstract:
J. Saunders Redding's To Make a Poet Black (1939) changed the way African American poetry would be read and valued. In an effort to articulate an African American modernism, Redding rewrote the recent history of the New Negro Renaissance, validating and skewing its literary production. The standards and values that Redding used helped to advance the reputations of Langston Hughes, Claude McKay, and Jean Toomer but also led to discrimination against femininity and its associated poetic forms. By incorporating the gendered matrix of the New Criticism into African American literary studies, he helped to create a new formal consensus, which cut across the black and the white academies and united critics on the left and the right of the ideological spectrum, in opposition to women's poetry.
4
Amalia, Ila. "REPRESENTASI PRAKTEK PERBUDAKAN DAN PENINDASAN DALAM PUISI ‘NEGRO’ KARYA LANGSTON HUGHES: SEBUAH KAJIAN POSKOLONIAL." Diksi 29, no. 1 (March 29, 2021): 51–59. http://dx.doi.org/10.21831/diksi.v29i1.33250.
Full textAbstract:
(Title: Representation of Slavery and Oppression Practices in 'Negro' Poetry by Langston Hughes: A Postcolonial Study). This study aims to describe the forms of oppression and slavery practices caused by racial discrimination and colonialism practices. With a background of slavery experienced by blacks in this case the African nation, the analysis of this poem aims to see how: (1) The form of slavery and oppression carried out by the colonials against the colonized people depicted in the poem "Negro" by Langston Hughes, (2) Forms of struggle and response carried out by colonized nations towards the practice of oppression illustrated in the poem "Negro" by Langston Hughes. The postcolonial theory approach is used as a foundation in the analysis of the poetry. The data source is taken from a poem by Langston Hughes with the theme of discrimination and racial subordination of African-Americans entitled "Negro" written in 1922. The results show that black people have experienced oppression in the form of slavery, forced/hard workers, victims of cruelty, and art workers who express their stories and historical experiences through their songs. One of the efforts made by colonized nations to fight against colonial practices is through civil movements, including through literary works. Later this civil movement led to the discourse of the abolition of slavery throughout the world.Keywords: postcolinial, colonialism, oppression, slavery, Africa
5
Gyssels, Kathleen. "His Master's Voice: avons-nous écouté Damas?" Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 9–17. http://dx.doi.org/10.7202/1071040ar.
Full textAbstract:
As many critics have seen, the musicality of Damassian poetry would be the expression of “negro” rhythm, and of the poets of his generation, he would have been the most jazzy. The poetry of Damas deserves better: it is enough to listen to it set to music by Pigments - The Clarinet Choir, to understand how it transcends Black Africa and the Caribbean, because, through the added value of an instrumental interpretation and a rare poetic recitation, these are the dramas of the individual uprooted and demotivated by a social body and an hostile environment. Drama of loneliness and drama of incomprehension, hope for reconciliation and rage against the impasse of the racial question in a supposedly multicultural France take turns. In three excerpts from their amazing project, Pigments - The Clarinet Choir offer a breathtaking score of the “Master’s Voice”.
6
Maxwell, William J., and James Edward Smethurst. "The New Red Negro: The Literary Left and African-American Poetry, 1930-1946." African American Review 35, no. 1 (2001): 143. http://dx.doi.org/10.2307/2903346.
Full text
7
Irr, C. "The New Red Negro: The Literary Left and African American Poetry, 1930-1946." American Literature 72, no. 3 (September 1, 2000): 645–46. http://dx.doi.org/10.1215/00029831-72-3-645.
Full text
8
McKay, Nellie Y. "Guest Column: Naming the Problem That Led to the Question “Who Shall Teach African American Literature?”; or, Are We Ready to Disband the Wheadey Court?" PMLA/Publications of the Modern Language Association of America 113, no. 3 (May 1998): 359–69. http://dx.doi.org/10.1632/s0030812900061307.
Full textAbstract:
We whose names are underwritten, do assure the World, that the poems in the following Page, were (as we verily believe,) written by phillis, a young Negro Girl, who was but a few Years since, brought an uncultivated Barbarian from Africa. […] She has been examined by some of the best Judges, and is thought qualified to write them.Attestation in Phillis Wheatley'sPoems on Various Subjects, Religious and MoralThe poems written by this young negro bear no endemial marks of solar fire or spirit. They are merely imitative; and, indeed, most of those people have a turn for imitation, though they have little or none for invention.Anonymous reviewer of Wheatley's poems in 1764 (Shields 267)It was not natural. And she was the first. […] Phillis Miracle Wheatley: The first Black human being to be published in America. […] But the miracle of Black poetry in America, the difficult miracle of Black poetry in America, is that we have been rejected […] frequently dismissed […] because, like Phillis Wheatley, we have persisted for freedom. […] And it was not natural. And she was the first. […] This is the difficult miracle of Black poetry in America; that we persist, published or not, and loved or unloved: we persist.June Jordan (252, 254, 261)More than two hundred years have gone by since the spring of 1773, when Phillis Wheatley, subject of the epigraphs of this essay, an African slave girl and the first person of her racial origin to publish a book in North America, collected her best poems and submitted them to public scrutiny. In search of authentication, she appeared with them before eighteen white men of high social and political esteem, “the best Judges” for such a case in colonial Boston. Wheatley's owners and supporters arranged this special audience to promote her as a writer. According to popular wisdom of the time, Africans were intellectually incapable of producing literature. None of the Anglo-Americans beyond her immediate circle could imagine her reading and writing well enough to create poetry.
9
FERGUSON, J. A. "‘NOIRS INCONNUS’: THE IDENTITY AND FUNCTION OF THE NEGRO IN RIMBAUD'S POETRY AND CORRESPONDENCE." French Studies XXXIX, no. 1 (1985): 43–58. http://dx.doi.org/10.1093/fs/xxxix.1.43.
Full text
10
FERGUSON, J. A. "'Noirs Inconnus': The Identity and Function of the Negro in Rimbaud's Poetry and Correspondence." French Studies 39, no. 1 (January 1, 1985): 43–58. http://dx.doi.org/10.1093/fs/39.1.43.
Full text
11
Silva, Claudicélio Rodrigues da. "Espelho de Narciso ou de Oxum? A poesia erótica negro-brasileira antologizada." Elyra, no. 16 (2020): 89–105. http://dx.doi.org/10.21747/21828954/ely16a6.
Full textAbstract:
This article discusses the representation of sexuality and eroticism in the poetry made by black Brazilian writers, having the anthology Pretumel de chama e gozo (2015), organized by Cuti and Akins Kintê, as its subject of study. What’s the point of producing a black erotic writing when the conservative and excludent political environment demands from black activism the fight for racial equality and black people’s insertion in several social instances? Isn’t eroticism in the service of violence and sexual exploitation of black bodies? How is it possible to think about a different kind of eroticism, that mitigates the stigma inherited from a slave society? The discussion undertaken here wants to point to investigative routes in black authorship eroticism more than answer the questions above.
12
Repp, Anna. "Multicultural component and its linguistic representation in Langston Hughes’ poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 73–78. http://dx.doi.org/10.34079/2226-3055-2020-13-22-73-78.
Full textAbstract:
Nowadays, the problem of the representation of multiculturalism in modern poetry needs special consideration. Our research is devoted to the investigation of the specific features of the multicultural component in the poetry of Langston Hughes. The main tasks of the paper are to investigate such notions, as «multiculturalism», «realia», «national identity» and «blues»; and to analyze the linguistic and cultural specificity of Hughes’ poetry. Multiculturalism is a term that came into usage after the idea of a “melting pot». Such scholars as Glazer, Hollinger, and Taylor have been investigating this term. Multicultutralism is the way in which different authors maintain their identity through their work while educating others on their cultural ideas. Multicultural literature is oriented around issues of race, ethnicity, gender, etc. Multicultural American literature of the 20th century resonates with the hopes and fears of the whole of American history and reflects the rich complexity and variety of the American experience. James Mercer Langston Hughes, an American writer who was an important figure in the Harlem Renaissance and made the African American experience the subject of his works. His writings ranged from poetry and plays to novels and newspaper columns. We would like to pay special attention to Langston Hughes’ poetry. «The Negro Speaks of Rivers» was the first poem published in Langston Hughes’s long writing career. The poem first appeared in the magazine Crisis in June of 1921 and was subsequently published in Hughes’s first volume of poetry, The Weary Blues, in 1926, written when he was only 19. «The Negro Speaks of Rivers» as well as the rest of his works treats themes Hughes explored all his life: the experiences of African Americans in history, black identity and pride. Multiculturalism is connected with the notion of realia. It is a linguistic phenomenon, which refers to the culture-specific vocabulary. The works of such well-known scientists, as S. Vlahov, S. Florin, I. Kashkin, A. Fedorov have been central in the study of this issue. The key factor in defining any phenomenon as realia is national referring to the object of a certain country, nation, or social community. National identity is not an inborn trait. It is essentially socially constructed. A person's national identity results from the presence of elements from the «common points» in people's daily lives: national symbols, colors, nation's history, blood ties, and so on. We can find all these aspects (geographical realia, proper names, and many others) in the work of Langston Hughes. While analysing the poems of Langston Hughes we discover that his language is closely connected with the culture. Thus, the idea of multicultural writing is that racial and ethnic minority voices are a crucial element in United States literary history and culture
13
Oliveira, Luiz Henrique Silva de. "Manifestações do negrismo no modernismo brasileiro: poesia e romance." Navegações 10, no. 2 (January 31, 2018): 156. http://dx.doi.org/10.15448/1983-4276.2017.2.23862.
Full textAbstract:
Este trabalho pretende analisar as manifestações do negrismo enquanto procedimento literário do século XX e estudar suas variantes no âmbito do modernismo brasileiro. Para tanto, tomaremos exemplares da poesia e do romance modernistas como elementos de análise. Será necessário para isso evidenciar as fontes e influências do negrismo e estabelecer diálogo com outros sentidos que o termo possui. Finalmente, deseja-se evidenciar como o negrismo no modernismo brasileiro representou uma etapa de transição entre a literatura de perspectiva etnocêntrica, em relação ao negro, e a chamada literatura afro-brasileira.********************************************************************Manifestations of “negrismo” in Brazilian Modernism: poetry and novelAbstract: This work aims to examine the manifestations of “negrismo” as a literary procedure of the twentieth century and study their variations in the Brazilian modernism. Therefore, we will take examples of poetry and romance modernists as elements of analysis. It will be necessary to show that the sources and influences to “negrismo” and establish dialogue withother senses that the term has. Finally , we want to show how the “negrismo” in Brazilian modernism represented a transitional stage between literature ethnocentric perspective, in relation to black, and the called african-Brazilian literature.Keywords: Negrismo; Modernismo; Poetry; Novel; Brazilian literature
14
Bibby, Michael. "The Disinterested and Fine: New Negro Renaissance Poetry and the Racial Formation of Modernist Studies." Modernism/modernity 20, no. 3 (2013): 485–501. http://dx.doi.org/10.1353/mod.2013.0091.
Full text
15
Stepto, Robert B. ""When de Saint Go Ma'ching Home": Sterling Brown's Blueprint for a New Negro Poetry." Callaloo 21, no. 4 (1998): 940–49. http://dx.doi.org/10.1353/cal.1998.0231.
Full text
16
Peters, Penelope. "Deep Rivers: Selected Songs of Florence Price and Margaret Bonds." Canadian University Music Review 16, no. 1 (March 1, 2013): 74–95. http://dx.doi.org/10.7202/1014417ar.
Full textAbstract:
This essay examines the songs of two African-American women, Florence Price (1888–1953) and Margaret Bonds (1913–72), who embarked upon their compositional studies and careers only a couple of generations after the emancipation. Both discovered in the poetry of Langston Hughes (1902–67) the means for reconciling the musical traditions of their African-American heritage with those of their European training. Through detailed analysis of the textual and musical symbolism in Price's Song to a Dark Virgin and Bonds's The Negro Speaks of Rivers and Three Dream Portraits, the author demonstrates the influence of spirituals ("plantation songs"), blues, and jazz and reveals how these African-American idioms are integrated with the melodic and harmonic idioms from the early twentieth-century European tradition.
17
Sembaeva, А., and G. Eskemesova. "NEURO-LINGUISTIC PROGRAMMATIC NATURE OF POETIC LANGUAGE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 155–61. http://dx.doi.org/10.51889/2021-1.1728-7804.26.
Full textAbstract:
The article considers a new method of analysis of the poetic text and defines the property of the language of poetry to influence the human consciousness, including on the basis of hypnotic language patterns and sensory predicates. The poetic neuro-linguistic power of poetic speech is also described. The theoretical and practical significance of neuro-linguistic program research is considered. In the content point of view, the classification of the program neuro-linguistic prisoners and read their poems goal. factors of influence of poetry on the listener from the neuro-linguistic point of view are revealed. The main differences between the neuro-linguistic direction and others are highlighted and translated into the property of influencing the content of communication in the process of communication between people. The interrelation of psychological actions, such as speech and thinking, memory, psycholinguistic and communicative features of poetic language, their influence on the psychology of communicants are considered. The scientific conclusions of scientists about the magical and neuro-linguistic power of poetic language are considered.
18
FAREBROTHER, RACHEL. "The Lesson Which India Is Today Teaching the World: Nationalism and Internationalism inThe Crisis, 1910–1934." Journal of American Studies 46, no. 3 (March 23, 2012): 603–23. http://dx.doi.org/10.1017/s0021875811001319.
Full textAbstract:
This article aims to test the limits of current assessments of the New Negro renaissance, which tend to emphasize either its investment in cultural nationalism or its Pan-African focus, by exploring the international contours ofThe Crisisunder Du Bois’s editorship. Recent analysis ofThe Crisishas paid considerable attention to the productive juxtaposition of what Anne Carroll has termed “protest and affirmation,” whereby Du Bois positioned reports on racial violence next to accounts of African American achievements in order to prompt acknowledgement of the realities of racism. But such criticism has focussed almost exclusively upon Du Bois’s treatment of American issues, overlooking his sustained interest in international cultural and political concerns. Focussing on the editorial framing of Indian nationalism, this article contends that the common distinctions drawn between internationalism and nationalism are too simplistic to accommodateThe Crisis's formulation of cultural nationalism by way of internationalism. Indeed, scrutiny of the magazine's formal texture, which stages dynamic interplay between poetry, short fiction, investigative journalism, photography, readers' letters and political cartoons, reveals tensions that animate Du Bois's project, not least his dependence upon colonialist ways of seeing and a narrative of racial unity across the African diaspora that serves to elide cultural and historical specificity.
19
Soden, Oliver. "TIPPETT AND ELIOT." Tempo 67, no. 266 (October 2013): 28–53. http://dx.doi.org/10.1017/s0040298213000843.
Full textAbstract:
AbstractMichael Tippett called T.S. Eliot his ‘spiritual and artistic mentor’, but the relationship between the two men has never been studied in detail. Eliot's numerous discussions with Tippett in the 1930s proved a lasting influence on the composer's beliefs about the coming-together of words and music. This article has three aims: first, to use Tippett's correspondence and writings to bring together the most accurate and complete biographical description of the relationship to date; second, to show that Tippett quoted from and alluded to the work of T.S. Eliot not only in his early pieces (as has hitherto been thought) but in much later compositions such as The Ice Break, The Mask of Time, and Byzantium; and third, to examine the libretto of Tippett's oratorio A Child of Our Time in the light of the composer's talks with Eliot. This article suggests that the inclusion in the oratorio of Negro spirituals was influenced by Eliot, and provides an analysis of the composer's own libretto through the lens of T.S. Eliot's essay ‘The Three Voices of Poetry’. Eliot's essay examines the number of voices in which the ‘I’ of a poem can speak, freed from the specificities of prose, and this article argues that Tippett, influenced by Eliot, harnessed the form of oratorio, freed from the specificities of opera, to allow it to speak in many voices.
20
Donlon, Anne, and Evelyn Scaramella. "Four Poems from Langston Hughes's Spanish Civil War Verse." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 562–68. http://dx.doi.org/10.1632/pmla.2019.134.3.562.
Full textAbstract:
Langston Hughes traveled to Spain in 1937, during that Country's Civil War. He saw the Republic's Fight against Franco as an international fight against fascism, racism, and colonialism and for the rights of workers and minorities. Throughout the 1930s, Hughes organized for justice, at home and abroad, often engaging with communist and other left political organizations, like the Communist Party USA's John Reed Club, the League of Struggle for Negro Rights, and the International Workers' Order (Rampersad, Life 236, 286, 355; Scott). When the war in Spain began, in 1936, workers and intellectuals who were engaged on the left came from around the world to fight against Franco's forces; these volunteers, the International Brigades, included approximately 2,800 Americans known as the Abraham Lincoln Brigade, of which about ninety were African American (Carroll vii; “African Americans”). Hughes went to Spain to interview black antifascist volunteers in the International Brigades and write about their experiences for the Baltimore Afro-American, VolunteerforLiberty, and other publications. Much of Hughes's writing from Spain sought to explain to people at home why men and women, and African diasporic people especially, had risked their lives to fight in Spain. Hughes profiled African Americans fighting for the first time alongside white comrades in the International Brigades, including Ralph Thornton, Thaddeus Battle, and Milton Herndon (“Pittsburgh Soldier Hero,” “Howard Man,” “Milt Herndon”). In addition to writing articles, he wrote poetry, gave radio speeches, and translated poems and plays from Spanish into English. Much of Hughes's work from the Spanish Civil War has been collected in anthologies. However, so prolific was Hughes, and so fastidious was he in saving drafts and ensuring they reach his collection at Yale University's Beinecke Rare Book and Manuscript Library, that many unpublished works exist in archives. The four poems here represent different poetic registers and levels of polish, and they illuminate the dynamic range of Hughes's literary production during his time in Spain.
21
Wheeler, Belinda. "Gwendolyn Bennett's “The Ebony Flute”." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 744–55. http://dx.doi.org/10.1632/pmla.2013.128.3.744.
Full textAbstract:
IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.
22
Assumpção, Simone de Castro, and Rosidelma Pereira Fraga. "A REPRESENTAÇÃO DO NEGRO NA POESIA AFRO-BRASILEIRA CONTEMPORÂNEA DE CUTI." Ambiente: Gestão e Desenvolvimento 12, no. 2 (October 1, 2019): 35–45. http://dx.doi.org/10.24979/283.
Full textAbstract:
A poesia afro-brasileira surge no momento em que o afrodescendente assume a posição de sujeito da enunciação. Ao tomar posse da palavra, o descendente de africano revela um "existir negro" no seu modo de ver e sentir o mundo, por meio de um eu-enunciador-que-se-quer-negro e que contesta os valores representados pela cultura dominante, além de mostrar os aspectos da sociedade não revelados pela literatura instituída. Nesses escritos, também chamados de contraliteratura, por promoverem a ruptura com a escrita ditada pelos brancos, o poeta não fala somente em seu nome. Nessa perspectiva, o escritor é o porta-voz de sua etnia e, portanto, afirma sua condição de negro. Ao mesmo tempo, busca uma identidade para representá-lo em sua poesia, visto que a procura de uma identidade negra é a característica fundamental da poesia afro-brasileira. Dentre esses poetas afro-brasileiros, encontra-se o autor Cuti (2011), cuja poesia será objeto de estudo nesse artigo, no sentido de compreender como esse poeta constrói a identidade negra nos seus escritos. Para atingir esse objetivo, identificaremos os elementos a que o poeta recorre para construir essa identidade.
23
Silverio, Dalila, Kelly Cristiane Nunes, Rosangela Alves da Silva, and Valdeci Batista de Melo Oliveira. "Resistência e denúncia contra o racismo/machismo nas vozes de poetas mulheres negras." Travessias 14, no. 3 (December 30, 2020): 223–36. http://dx.doi.org/10.48075/rt.v14i3.26349.
Full textAbstract:
O presente artigo traz como tema a poesia afrofeminina como via de ressignificação da história por meio de vozes deixadas à margem da sociedade pelo discurso histórico oficial. A pesquisa se justifica pela pouca visibilidade destas poetas negras, que realizam um trabalho de denúncia e sensibilidade, apresentando por meio de seus versos, uma nova versão dos fatos que desde sempre são contados pelo viés do vencedor no Brasil. O artigo trata da vida e da obra das poetas Angela Lopes Galvão, Conceição Evaristo, Miriam Alves e Esmeralda Ribeiro, trazendo também a análise de alguns de seus poemas. A metodologia utilizada parte da revisão bibliográfica, sendo utilizado o método da crítica sociológica, teóricos para a análise poética, como Goldstein (1985); Bernd (1992) entre outros e também estudos que tratam da trajetória negra na literatura nacional, como Proença Filho (2004); Medium (2017) e Duarte (2018). O trabalho poético realizado pelas poetas trazidas aqui apresentam, além de toda a beleza de sua estética, uma perspectiva histórica singular, que parte do olhar da mulher negra que, por meio de versos que transbordam força e resistência, são verdadeiros atos políticos contra séculos de discriminação contra o negro e contra a mulher negra.
24
Hanauer, David I. "Intermediate states of literariness." Empirical Studies of Literariness 8, no. 1 (December 31, 2018): 114–34. http://dx.doi.org/10.1075/ssol.18001.han.
Full textAbstract:
Abstract This study utilizes texts which sit between the literary and non-literary to explore the outcomes and mechanisms of literariness. Literariness can be activated by (a) linguistic foregrounding and (b) paratextual specification. In a 2 × 2 design, manipulated versions of two soldier narratives were produced (poetry/fiction; poetry/fact; prose/fiction; prose/poetry). 215 participants were randomly assigned to read one of the textual versions and respond to rating scales dealing with perception of textual features, empathy, sympathy, and cognitive perspective-taking. The results show that poetic form elicits significantly higher ratings for empathy and sympathy and that paratextual information specifying that a text is factual elicits significantly higher ratings for empathy and cognitive perspective-taking. Two structural equation models were defined: (a) a literariness model and (b) a factual accuracy model. The results suggest an additive dual model of processing in which both poetic form and factual definition contribute to outcomes characteristic of literariness. These results offer some support for the hypotheses of the Neuro-Cognitive Poetics Model proposed by (Jacobs, 2011).
25
Smuts, Lisbé. "Die “ek” in (‘YK’): Die desentralisasie van die subjek in Breyten Breytenbach se digbundel (‘YK’)." Tydskrif vir Letterkunde 46, no. 2 (November 9, 2017): 81–96. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i2.3420.
Full textAbstract:
In Breyten Breytenbach’s poetry the “I” is complex. “I” and “you”, the writer and the reader, are not represented with constituted meanings but as signifiers and as part of language production. This article reflects on the development process of the writer as the textual “I”, the “I” narrator in the poetic text – the “I” of language that is not homogeneous or constant. The text is regarded as a pluriform in dialogue (often incomplete) with a variety of texts, the writer and his text, the texts of the reader and the texts of society and history. The author discusses the decentralisation of the subject in Breytenbach’s poetry with respect to his prison collection (‘YK’), and especially the poem “nekra” (a neologism recalling “necro”).
26
Berruezo-Sánchez, Diana. "«Negro poeta debió de ser el que tan negro romance hizo»: ¿poetas negros en el Siglo de Oro?" Hipogrifo. Revista de literatura y cultura del Siglo de Oro 9, no. 1 (May 2021): 131–42. http://dx.doi.org/10.13035/h.2021.09.01.09.
Full text
27
De la Fuente Lora, Gerardo. "¿Liberarse en la lengua del Amo? Jean Paul Sartre y los poetas negros." Nuevo Itinerario, no. 10 (November 16, 2015): 1. http://dx.doi.org/10.30972/nvt.010890.
Full textAbstract:
<p>Muchos de los líderes del movimiento que enarboló la Negritud como su bandera -y muchos protagonistas de las luchas anticolonialistas y y proderechos cívicos de los negros a lo largo del siglo XX- fueron poetas. Siguiendo algunas sugerencias hechas por Jean Paul Sartre en su texto Orfeo Negro (que fue el prólogo a una antología de poesìa africana) en este artículo se indagan algunas razones que podrían explicar esa proclividad literaria de un grupo de agentes emimentemente políticos. A la vez se estudia otra cuestión puesta sobre la mesa por el mismo Sarte, a saber, la paradoja de que los movimientos de emancipación – racial o de otro tipo- con frecuencia se vean obligados a expresarse en el idioma de los colonizadores o los amos. ¿Es realmente posible liberarse en esas condiciones? El artículo se pregunta, en fin, por el carácter, positivo o negativo, que ha tenido la filosofía y la figura de Sartre en el pensamiento negro y afrocaribeño.</p>
28
Hoefkens, Ivo R. V. "Marguerite Yourcenar, traductrice." Babel. Revue internationale de la traduction / International Journal of Translation 40, no. 1 (January 1, 1994): 21–37. http://dx.doi.org/10.1075/babel.40.1.04hoe.
Full textAbstract:
Marguerite Yourcenar, known as an author, is also the translator of about a dozen works. My purpose here is to trace the evolution of her oeuvre in the field of translation in relation to her literary output. I have divided the former into three distinct periods, the first of which covers the closing years of the 1930s, when Marguerite Yourcenar translated Virginia Woolf's The Waves and Henry James's What Maisie Knew. Her interest in these authors is to a large extent stylistic. On the other hand, the translation of Constantin Cavafy's poetry, which was begun during the same period, reflects the intimist themes to be found in Marguerite Yourcenar's early narratives {Alexis and the others), although she was then already seeking out other thematic sources. The translation was only published in 1958. It consequently falls within a second period: that of the "présentations critiques" (critical commentaries). These major efforts in translation {Présentation critique de Constantin Cavafy, La Couronne et la Lyre, Fleuve profonde, Sombre rivière) are marked by a manifest preoccupation with the aesthetic. But themes of a more universal character and engagement in the socio-political sphere also enter into the choice of the texts for translation (negro spirituals, Présentation critique d'Hortense Flexner). These translations were contemporaneous with the creation of Marguerite Yourcenar's most important novels, namely Mémoires d'Hadrien and L'OEuvre au Noir. The last of the three periods, the 1980s, finds her tackling far less ambitious projects, the function of which tends increasingly towards ethical communication. The only one of them that bears any resemblance to the "présentations critiques" is the essay on Yukio Mishima and the translation of Cinq Nô Modernes, assuming that these are to be considered as an ensemble. Here, as elsewhere, it also emerges that Marguerite Yourcenar is largely indifferent to the existence of other translations.
29
Pomeroy, Arthur J. "Silius Italicus as ‘Doctvs Poeta’." Ramus 18, no. 1-2 (1989): 119–39. http://dx.doi.org/10.1017/s0048671x00003064.
Full textAbstract:
The second half of the first century A.D. is the age of the senatorial poet at Rome. While previously Rome's poets frequently were outsiders adopted into the system (Vergil and Horace in particular come to mind in this connection), now members of the inner circles of government could actively display their literary talents and preferences. There can be little doubt that the reign of Nero is mainly responsible for this state of affairs — there is a revival of Roman poetry such as has not been seen since the age of Augustus, evidenced by the diverse works of Lucan, Persius, and even the emperor himself. Previous emperors had dabbled in poetry, but as hardly anything more than a hobby. Now the most important personages in the Roman state could openly engage in creative writing. This trend, beginning under Nero, continues in the Flavian Age, many of whose most prominent members, including the founder of the dynasty himself, originally came to the forefront under the last of the Julio-Claudians. The poetic capabilities of the emperor Domitian are praised by Quintilian (10.1.91) and by Valerius Flaccus (1.12-14); the latter seems at least to have begun his epic with its Greek mythological theme under Vespasian. An author who is often less well regarded had first come to public attention under Nero and remained prominent under the Flavians — Silius Italicus.
30
Boll, Tom. "César Vallejo in English: Stanley Burnshaw, Paul Muldoon, and Lawrence Venuti's Ethics of Translation." Translation and Literature 22, no. 1 (March 2013): 74–102. http://dx.doi.org/10.3366/tal.2013.0100.
Full textAbstract:
The article reassesses Stanley Burnshaw's anthology of modern poetry, The Poem Itself (1960) in the light of more recent developments in Translation Studies. Burnshaw aimed to provide an alternative to the method of poetic recreation with a combination of source text, literal translation, and commentary. A comparison of the translation of Vallejo's ‘Piedra negra sobre una piedra blanca’ from Burnshaw's anthology with a poetic version by Paul Muldoon explores the effectiveness of Lawrence Venuti's critical vocabulary. Venuti's adoption of the target focus and cultural turn of Translation Studies creates obstacles for an understanding of Burnshaw's attempt to deliver an experience of the foreign text. Yet Venuti approves of The Poem Itself. The pedagogy outlined in his Scandals of Translation (1998) suggests a possible rehabilitation of Burnshaw's anthology as a vehicle for challenging interpretative norms.
31
SICARD, ALAIN. "Donde nace la carencia. La emergencia del sujeto poético vallejiano en Los heraldos negros." Espergesia 6, no. 2 (December 28, 2019): 1–13. http://dx.doi.org/10.18050/esp.2014.v6i2.2174.
Full textAbstract:
Bajo este título (que parodia el título, «Donde nace la lluvia»), dado por Pablo Neruda al primer tomo de su Memorial de Isla Negra (1964): el trabajo se dedica a analizar la emergencia, en Los heraldos negros, de aquel «sujeto de la carencia» que, de Trilce en adelante, confiere a la poesía de César Vallejo, como he tratado de mostrarlo en otraS ocasiones, su unidad y su coherencia.
Muchos críticos han ponderado severamente la presencia modernista en Los heraldos negros reprochándole ser un obstáculo a la expresión auténtica de la voz vallejiana. Se discutirá este punto de vista proponiendo una relectura. del poema «Retablo». La parte final del poema nos introducirá a lo que va a constituir la matriz del sujeto de la carencia : la contradicción entre la fe religiosa y la experiencia temporal, y la crisis –ejemplificada por poemas tales como «Espergesia» o «Absoluta»– que de ella resulta. Se examinará a continuación las incidencias de esta crisis en los principales niveles temáticos de la obra : la ausencia del hogar, la americanidad, la experiencia erótica, dejando la conclusión abierta sobre la posteridad que ha de tener el sujeto de la carencia en los libros por venir.
Palabras clave: Sujeto poético; Dios; carencia; orfandad; hogar; americanidad; amor.
Abstract
Under this title –that parodies Donde nace la lluvia, title given in 1960 by Neruda to the first volume of Isla Negra: A Notebook (1964)–, this work intends to analyse the emergence, in Los heraldos negros, of the theme of loss or deficiency, which, since Trilce, as I’ve tried in other occasions to show, confers on Cesar Vallejo’s poetry its unity and coherence.
Many critics have judged harshly the modernist presence in The Black Heralds, reproaching it for being a hindrance to the genuine expression of the vallejan voice. This point of view will be discussed through a re-reading of «Retable». The last part of the poem introduces us to what will be the matrix of the theme of loss, to wit: the contradiction between religious faith and mortal experience, together with the crisis –illustrated by poems such as «Espergesia» or «Absolute»– that follows on. After which we’ll explore the repercussions of that crisis on the various thematic levels of the oeuvre: the absence of home, Americanity, the erotic experience, leaving open the conclusion on the posterity of loss as a theme in future books.
Keywords: Poetic subject; God; time; loss; orfandad; home; Americanity; erotic.
32
Távara Córdova, Francisco. "Los heraldos negros a casi cien años de su publicación. Una mirada histórica de su recepción." Archivo Vallejo 1, no. 1 (November 29, 2018): 15. http://dx.doi.org/10.34092/av.v1i1.31.
Full textAbstract:
La próxima celebración del centenario de la publicación de Los heraldos negros (1919) motiva esta aproximación centrada en la descripción y el comentario de los principales argumentos que se han propuesto sobre el poemario vallejiano. El acercamiento que realizamos combina el comentario de textos, el análisis y la síntesis interpretativa.
ABSTRACTThe next centenary celebration of the poetry book publication, Los heraldos negros, (‘The Black Heralds’, 1919) is coming and this is why descriptions and commentaries of the main arguments have been proposed on the collection of Vallejo’s poems. This approach combines texts’ comment, analysis and interpretive synthesis.
Keywords: Cesar Vallejo, Los heraldos negros (‘The Black Heralds’), Peruvian poetry, critical historiography, critical reception.
33
Oskar Meller, Oskar Meller. "Ginsberg Barańczaka. Z dziejów jed(y)nego przekładu." Poznańskie Studia Polonistyczne. Seria Literacka, no. 36 (June 15, 2019): 227–42. http://dx.doi.org/10.14746/pspsl.2019.36.14.
Full textAbstract:
The article is an analysis of the translation of the poem A Supermarket in California (Supermarket w Kaliforni), the only poem by Allen Ginsberg translated by Stanisław Barańczak. In the critical works of the author of Facial Corrections (Korekta twarzy) the beatnik’s poetics is contrasted with the poetry of Robert Frost and James Merill – writers crucially important to the translator. Despite this, A Supermarket… enriched Barańczak’s anthology of American Poetry published in 1998. The translator’s key choice appears to be the use of a conversational idiom, placing the poem opposite the ‘howling’ diction from the flagship poems of the author of Howl. The testaments of a dialogue with tradition is what Barańczak seeks in it; he is most interested in the formal and semantic bows to the father of American poetry. What Barańczak makes the semantic dominant is, rather than the structure of the text or the images evoked in it, Whitman’s patronage with all its consequences.
34
Apa, Livia. "“Our skin is a monument”: corpo, raça, mulher em alguma poesia africana em português." Elyra, no. 16 (2020): 107–16. http://dx.doi.org/10.21747/21828954/ely16a7.
Full textAbstract:
My article focuses on how poetic word works as an instrument of emancipation in issues related to gender and race in the Portuguese-speaking African space and diaspora. Starting from the 1950s and from the notebook / manifesto Poesia Negra de Expressão Portuguesaorganized by Mário Pinto de Andrade and Francisco José Tenreiro, and considering the idea that knowledge and its artistic manifestations create genealogies of concepts, I intend to present a brief overview to illustrate the moments of rupture and cleavage that have existed in the evolution of such themes. In this context, particular attention will also be paid to the most recent experiences of new textualities created in Portugal by Afro-descendant and anti-racist subjectivities, such as Djidiu: A Herança do Ouvido, an idea of collective textual production contaminated by practices such as rap or slam poetry.
35
Carneiro, Téssia Gomes, and Eliane Cristina Testa. "“Meu corpo é meu lugar de fala”: entrevista com Lubi Prates." Revista Letras Raras 9, no. 1 (March 31, 2020): 214. http://dx.doi.org/10.35572/rlr.v1i9.1717.
Full textAbstract:
É na condição de mulher negra e de escritora, que a poeta Lubi Prates tem participado de viagens e festivais, trazendo, principalmente, a questão racial à luz do cenário nacional. Mediou em 2019, o Clube de Leitura Antirracista e organizou o ciclo de diálogos ‘Poesia Insubmissa’, e o ciclo de debates ‘O negro como narrador’, tudo para que vozes negras fossem erguidas no papel central de suas narrativas, assumindo assim, uma subjetividade singular, daqueles que falam por si e com isso repudiam os estereótipos negativos repetidos cotidianamente. A potência de seu trabalho também é vista em sua obra ‘um corpo negro’ (2018, traduzida para o inglês, espanhol e francês), que foi indicada para o 61⁰ Prêmio Jabuti e a 4ª edição do Prêmio Rio de Literatura. Sua plaquete ‘permanece,’ (2018) foi republicada em 2019 e contemplou a lista dos melhores livros do ano, ao resgatar a experiência do amor entre pessoas negras, roubado no período de escravização. E ainda, entrecruzando suas escrevivências com outras poetas negras reuniu na antologia “Nossos poemas conjuram e gritam” (2019) sete nomes fortes da atualidade: Conceição Evaristo, Esmeralda Ribeiro, Neide Almeida, Nina Rizzi, Jarid Arraes, Natasha Felix e Lívia Natália, num belo trabalho de “contranarrativas”, que exalta a força literária daquelas que brilham e lutam em prol de raça, classe e gênero.
36
Cowan, Robert. "Starring Nero as Nero: Poetry, Role-Playing and Identity in Juvenal 8.215-21." Mnemosyne 62, no. 1 (2009): 76–89. http://dx.doi.org/10.1163/156852508x252849.
Full textAbstract:
AbstractJuvenal's synkrisis between Orestes and Nero climaxes with the statement that the former never played Orestes; the implied antithesis, that Nero did play Nero, gains point from the princeps' practice of wearing masks resembling his own face. This blurring of the distinction between 'playing Nero' and 'playing Orestes' problematizes the princeps' identity. This problematization is furthered by the peculiarities of Orestes, who in various tragic plots repeatedly either plays other roles or is himself impersonated. This is part of Satire 8's wider exploration of identity as underdetermined by ancestry and the inadequacy of names as signifiers. The further statement that Orestes never wrote a Troica is illuminated by its intertextual engagement with Callimachus Epigr. 59 G-P, in which the poet's loss of his 'Pyladeses' through writing a play contrasts with Orestes' omission of this final act of madness. The Callimachean Orestes thus keeps distinct the roles of tragedian and tragic hero, poet and character, thereby foregrounding Nero's failure to maintain this distinction. By blurring his identity with that of Paris in both his epic and his alleged burning of Rome, Nero confuses the categories of artist and perpetrator, creator and character, just as he and Orestes confuse those of actor and role.
37
Åkerström, Ulla. "Collective Motherliness in Italy. Reception and Reformulation of Ellen Key’s feminist ideas in Sibilla Aleramo and Ada Negri (1905-1921)." Bergen Language and Linguistics Studies 10, no. 1 (November 7, 2019): 10. http://dx.doi.org/10.15845/bells.v10i1.1389.
Full textAbstract:
This paper aims to explore how the Swedish writer Ellen Key’s ideas on collective motherliness and on the relationship between man and woman were received and reformulated in the articles, poetry and prose of Sibilla Aleramo and Ada Negri before and after the First World War. The ideas in Aleramo’s autobiographical novel Una donna (1906) were close to Key’s theories, but her autobiographical novel Il passaggio (1919) was quite different. Ada Negri’s idealistic view of motherhood, as expressed in her collection of poetry Maternità (1904), corresponded to parts of Key’s conception of motherhood, while Negri’s dream of single motherhood and the realisation of that ideal is emphasized in her autobiographical novel Stella mattutina (1921).
38
Dewar, Michael. "Nero on the Disappearing Tigris." Classical Quarterly 41, no. 1 (May 1991): 269–72. http://dx.doi.org/10.1017/s0009838800003840.
Full textAbstract:
This is the only undisputed fragment of Nero's poetry which is longer than a single line. It is preserved for us by the scholiast on Lucan 3.261, who gives us the additional piece of information that it belongs to Nero's ‘first book’. It is overwhelmingly likely that this refers to the first book of Nero‘s epic Troica, his most famous work and the only one, as far as we know, to have been comprised of several books.1 Since the fragment is the most significant surviving, but this attribution to the Troica cannot be quite certain, Morel and Büchner list it as fragment 1 with the simple heading ‘E libro primo’ and scrupulously keep it entirely separate from Servius’ two testimonia (frr. 9 and 10) on the content of the poem. This entirely sensible procedure, however, may trap the unwary reader into assuming that not a word of Nero's epic actually survives.
39
Mazzotti, José Antonio. "Vallejo migrante y la diáspora poética latinoamericana." Archivo Vallejo 1, no. 1 (November 29, 2018): 20. http://dx.doi.org/10.34092/av.v1i1.15.
Full textAbstract:
Para nadie es un secreto que el itinerario geográfico de César Vallejo fue no solo variado, sino accidentado. De su natal Santiago de Chuco había que viajar cuatro horas a lomo de caballo hasta la ciudad costeña de Trujillo (donde concluyó su bachillerato en Letras) y luego a Lima (generalmente en barco). Una vez en la capital peruana, hacia 1915, Vallejo intentó ser aceptado en los círculos literarios con relativo éxito, sobre todo después de la publicación de Los heraldos negros en 1918- 1919. Sin embargo, una vez aparecido Trilce en 1922, muchas puertas se le cerraron, y hasta se vio implicado antes de ello en un conflicto policial que le valió casi cuatro meses de cárcel. Como consecuencia, el poeta partió para París en 1923, golpeado y amargado del Perú, para nunca más volver. Esta ponencia examina cómo la continua condición migrante del poeta resume y explica parcialmente el conflicto de millones de latinoamericanos durante su tiempo y a lo largo del siglo XX. Más específicamente, me interesa notar la internalización de esa experiencia y las formas en que se manifiesta en su poesía inicial, la de la llamada etapa peruana, así como algunas de las huellas que ha dejado en la producción poética más reciente.
ABSTRACTIt is no secret that the geographical route of Cesar Vallejo was not only diverse but bumpy. From his native Santiago de Chuco, he traveled four hours on horseback to the coastal city of Trujillo (where he completed his Bachelor of Arts degree) and then continued to Lima by ship. Once arriving to the Peruvian capital around 1915, Vallejo tried to be accepted in literary circles with relative success, especially after the publication of Los heraldos negros (‘The Black Heralds’) in 1918- 1919. However, after Trilce was published in 1922, many doors were closed to him, and even he was involved in a police conflict which gave him almost four months in prison. As a result, he traveled to Paris in 1923. He felt he was fed up and beaten by Peru and that he was never coming back. This paper examines how the continuous migrant condition of the poet summarizes and explains partly the conflict of millions of Latin Americans during his time and throughout the 20th century. More specifically, it is important to note the internal process of these experiences and the ways how it is manifested in his initial poetry: the so-called Peruvian stage, as well as some of the marks left in the more recent poetic production.
Keywords: Vallejo, migrant subject, Los heraldos negros (‘The Black Heralds’), Trilce, Latin American poetic diaspora.
40
Gladieu, Marie-Madeleine. "Resonancia de poemas franceses en Los heraldos negros." Archivo Vallejo 4, no. 4 (August 19, 2019): 347–59. http://dx.doi.org/10.34092/av.v4i4.99.
Full textAbstract:
Si es indudable la influencia de poetas románticos y modernistas, hispanoamericanos y españoles, la lectura de obras de poetas franceses del siglo XIX y comienzos del XX, románticos, parnasianos, simbolistas y otros dejó en este poemario huellas no menos ciertas. María Rosa Sandoval leía para el grupo de jóvenes poetas textos de Baudelaire, Nerval, Verlaine, Samain, Laforgue, Mallarmé, etc. Vallejo escuchó, entre otros poemas que también examinaremos, Un coup de dés, que despertó en él una serie de resonancias debidas a los sonidos del francés cf. La música verlainiana—, interpretadas de varias maneras en su creación. Algunas resonancias recuerdan el Romanticismo y las vanguardias, otras son más originales y personales, y la presencia de sonidos puros en Trilce invita a sospechar que en el primer poemario los sonidos desempeñaron ya un papel importante en la creación vallejiana.
41
Babnis, Tomasz. "Iranian Themes in the Poetry of Statius." Classica Cracoviensia 21 (July 2, 2019): 5–30. http://dx.doi.org/10.12797/cc.21.2018.21.01.
Full textAbstract:
Publius Papinius Statius was one of the most important poets of the Flavian Age. His works (Thebais, Silvae and unfinished Achilleis) became the object of great interest of scholars. One of the issues of Statian poetry that was so far ignored by scholars was its image of the East and Easterners. Among them the Iranian world (first of all Parthian empire) is the one that deserves special interest because of the importance of relations between Rome and Parthia as well as the old literary tradition concerning Persia, Parthia etc. Although this matter is of marginal importance in Statius, there are a lot of references to Iranian themes in Thebais and Silvae. Some of them are connected with military and political relations with Rome (esp. the Armenian War in the times of Nero), while some refer to ethnographic tradition and traditional image of Achaemenid Persia. In these passages we can find great influence of Augustan poets, Horace in particular.
42
Peterson, Dale E. "Justifying the Margin: The Construction of “Soul” in Russian and African-American Texts." Slavic Review 51, no. 4 (1992): 749–57. http://dx.doi.org/10.2307/2500135.
Full textAbstract:
The scholarly world has little noted nor long remembered the interesting fact that the emancipation proclamation of a culturally separate African-American literature was accompanied by a generous acknowledgment of Russian precedent. In 1925 Alain Locke issued the first manifesto of the modern Black Arts movement, The New Negro. There could not have been a clearer call for the free expression of a suppressed native voice: “we have lately had an art that was stiltedly selfconscious, and racially rhetorical rather than racially expressive. Our poets have now stopped speaking for the Negro—they speak as Negroes.“ Even so, this liberating word of the Harlem Renaissance was uttered with a sideward glance at the prior success of nineteenth century Russia's soulful literature and music. Locke himself cited the testimony of his brilliant contemporary, the author of Cane, a poetic distillation of the pungent essence of slavery's culture of oppression: “for vital originality of substance, the young Negro writers dig deep into the racy peasant undersoil of the race life.
43
Barreto Felix, Natália, Talita de Oliveira, Fabio Sampaio de Almeida, and Maria Cristina Giorgi. "O gênero poetry slam: reexistência e construção da identidade negra como um grito das vozes do sul." Revista da Anpoll 51, no. 2 (September 9, 2020): 208–17. http://dx.doi.org/10.18309/anp.v51i2.1392.
Full textAbstract:
Partindo do poder de intervenção e invenção da linguagem (ROCHA, 2006, 2014), este trabalho objetiva compreender o poetry slam como gênero discursivo contemporâneo de reexistência (SOUZA, 2011) que ecoa vozes de sujeitos subalternizados sócio-historicamente – especialmente jovens negros das periferias – nossas vozes do sul. A proposta teórico-metodológica foca-se na análise discursiva do poema-slam intitulado "Século XXI", do slammer carioca Weslley Jesus (WJ), disponível no YouTube. As análises apontam para posicionamentos de resistência aos discursos hegemônicos que legitimam a necropolíticas voltada para jovens negros das periferias brasileiras. Essas vozes apropriam-se da linguagem como instrumento estético-político-ideológico produzindo resistência ao racismo e a outras formas de opressão. Os resultados apontam para a importância de outros estudos sobre slam de modo a aprofundar as análises acerca desse gênero de reexistência, trazendo para o centro do debate vozes e demandas de sujeitos apartados da produção de conhecimento.
44
Bédouret-Larraburu, Sandrine, and David Bédouret. "L'imaginaire de Damas dans Black-Label, une matrice de l'enchevêtrement." Dossier spécial Léon-Gontran Damas, no. 116 (August 13, 2020): 29–42. http://dx.doi.org/10.7202/1071042ar.
Full textAbstract:
Black-label written by Léon-Gontran Damas is an experience that is both poetic and geographic: the poet bends language to his different moods, the consequences of a consumption of whiskey staged by writing and seeks to explore this triangular identity "black, destitute, man", but also "African, Amerindian, European". Damas’surrealism is built on the reappropriation of a Negro history and culture that involves an imaginary matrix of hybrid geographicity and poeticity. Damas’ imaginary first takes us on a journey through space and time, drawing the land and the history of reference for the Black people. It feeds a poetic language which draws from these different territories and makes Creole and the Amerindian resonate in his own clear French language.
45
Iñiguez Rodríguez, Edgardo. "Poetry, death and social tissue: Necro-writings on Album Iscariote by Julian Herbert." Mitologías hoy 15 (June 30, 2017): 21. http://dx.doi.org/10.5565/rev/mitologias.443.
Full text
46
Tomassi, Bianca Caterina Tereza, and Francirosy Campo Barbosa Ferreira. "primeiros aos Últimos Poetas." Revista de Antropologia da UFSCar 3, no. 2 (December 1, 2011): 30–50. http://dx.doi.org/10.52426/rau.v3i2.55.
Full textAbstract:
Os objetivos deste artigo são: apresentar os motivos que resultam na conversam de jovens pertencentes ao movimento Hip Hop ao Islã, e desta forma, evidenciar a importância de determinados fatos históricos que constituem esta aproximação, assim como, acentuar a importância da construção e afirmação da identidade negra para os adeptos do Islã no movimento Hip Hop. Partimos de dados coletados em campo de 2009 a 2011 em grupos diversos na periferia de São Paulo e ABCD.
47
Lomask, Laurie. "Los heraldos negros en contacto con Nueva York: contexto histórico, traducciones al inglés e influencia en artistas norteamericanos." Archivo Vallejo 4, no. 4 (August 19, 2019): 435–43. http://dx.doi.org/10.34092/av.v4i4.106.
Full textAbstract:
Aunque César Vallejo nunca fue a Nueva York en persona, el sentimiento de su poesía tiene mucho en común con lo que expresaban los poetas norteamericanos que vivían en esa ciudad. Aquí se exploran los parecidos entre Los heraldos negros y la producción poética neoyorquina de principios del siglo XX. También se ofrece un resumen de las ediciones en inglés más importantes de Los heraldos negros, reseñas de estas, y la influencia vallejiana en los círculos literarios norteamericanos de hoy en día.
48
Kuzina, Daria D. "The Depths of My Africa: Travelogues on the Land of Ancestors by Claude McKay and Langston Hughes." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 227–36. http://dx.doi.org/10.22363/2312-9220-2021-26-2-227-236.
Full textAbstract:
The article is devoted to the image of Africa in the travelogues by poets Claude McKay (A Long Way From Home, 1937) and Langston Hughes (The Big Sea, 1940), the significant figures of Harlem Renaissance; and also compares this image with Africa in the poems of both writers. The image of Africa as the land of ancestors and the foremother of the Negro people was popular among the artists and philosophers of the Harlem Renaissance, but at the same time, it was often idealized. That is why meeting a real Africa becomes, to some extent, a moment of truth for an African-American artist, the reason to take a new look at himself and his values. Biographies of Hughes and McKay reveal why equally motivated, at first glance, writers united by a common dream of a black peoples home, when faced with the real Africa, react to it in exactly the opposite way. The article shows that young cosmopolitan poet Langston Hughes did not find respond to his poetic ideals in real Africa and after that forever divided Africa into real and poetic, while Claude McKay, who kept up the reunification of the Negro people and had traveled around the whole Europe, only in Africa for the first time in his life went native. At the same time, Hughes is significantly influenced by his mixed origins and McKay - by his colonial background. The article contains materials of correspondence, fragments of the travelogues never been translated into Russian before.
49
Pachas Almeyda, Miguel. "Los heraldos negros: un grito en contra de la barbarie." Archivo Vallejo 4, no. 4 (August 19, 2019): 389–97. http://dx.doi.org/10.34092/av.v4i4.102.
Full textAbstract:
El texto trata de explicar que Los heraldos negros, la primera obra poética de César Vallejo, no solamente fue influenciada por la poesía de los poetas modernistas de la época, sino que tuvo como sustrato fundamental las experiencias que vivió Vallejo en un contexto social, económico y político de trascendencia nacional e internacional.
50
Nascimento, Luana Caroline. "A voz e a dor da periferia brasileiras em rimas e batalhas: a popularização do slam como recriação da poesia contemporânea." Revista Internacional de Folkcomunicação 19, no. 42 (July 2, 2021): 322. http://dx.doi.org/10.5212/rif.v.19.i42.0017.
Full textAbstract:
Esta resenha aborda a prática do slam como popularização da poesia contemporânea entres jovens negros da periferia. Como a critério de análise, serão tratados dos poemas de slam apresentados (não apenas da poesia escrita e publicada). São, ao todo, 15 poetas (cada um apresentando três poemas/slam) publicados em 2019 pelo canal do Youtube do programa "Manos e Minas".