Dissertations / Theses on the topic 'Protest poetry, Xhosa – History and criticism'

This interdisciplinary study locates Xhosa written poetry (1948-1990) within the framework of the socio-politico-economic scenario in South Africa. It sets out to examine the impact of the above stated factors on literature, by supporting the hypothesis that Xhosa written poetry of the Apartheid epoch is a terrain of the struggle for hegemony between the dominant ideology and the alternative ideologies.

The central argument of this inter-disciplinary study is that IsiXhosa written poetry of 1912 – 2012 is a terrain of the struggle between the contending dominant ideologies of Segregation, Apartheid and Charterism (post-Apartheid); and the subordinate/ subaltern ideologies of Africanism, Charterism (pre-democracy), Pan- Africanism, Black Consciousness Movement and other post Apartheid ideologies. The study highlights the mutual relationship between the text and the context by focussing on the ideological contest which manifests itself in both form and structure (i.e. aesthetic ideology) and the content (i.e. authorial ideology) of the poetry of different epochs between 1912 and 2012. The study is located within the framework of Antonio Gramsci’s theory of cultural construction. Gramsci postulates that ideology and culture play a significant role in the process of asserting hegemony. Important concepts that constitute Gramsci’s theory of praxis are: ideology, culture, hegemony, organic intellectuals and both ideological and repressive state apparatuses. The first chapter presents the problem, the objectives, the methodology, and the scope of the study. The second chapter presents Gramsci’s theory of cultural construction and the work of scholars who developed his theory further. The tool that is employed for analysis and interpretation of textual significations of IsiXhosa written poetry is the revolutionary aesthetics, which is proposed by Udenta. The third chapter analyses and interprets literature of the epoch of 1912-1934 and exposes the contest between Segregation and Africanism ideologies. The fourth chapter contextualises and analyses the literature of 1934 – 1948, the second phase of contestation between Segregation and Africanism. The fifth chapter deals with literature of the first and second halves of the Apartheid epoch (1948 - 1973). The Apartheid ideology contested with the Africanist ideology which transformed into the Charterism ideology in 1955. In 1960 Pan-Africanism ideology and in 1969 Black Consciousness Movement ideologies entered the contest. The sixth chapter examines literature of the period 1973 – 1994 which is the second phase of the Apartheid epoch that ends with the “glasnost” period of 1990 - 1994. The seventh chapter studies literature of the democracy period of 1994 – 2012. The eighth chapter is the summary and general conclusion. The illumination of the nexus between culture and ideology during the past century (1912 - 2012) will provide insights that will assist us in addressing the challenges we face during the democracy period, and in the development on Arts and Culture in general, and literature in particular

Thesis (MA)--University of Stellenbosch, 2002
ENGLISH ABSTRACT: This study is divided into five chapters. The first chapter which marks the introductory chapter deals with the general introduction to the entire study, the scope of the study, statement of the aim and objectives of this study, also looks at the research methods and gives St J Page Mbalana Yako's brief biographical sketch. The second chapter provides a brief theoretical background to the study of poetry. This forms the basis upon which the entire study will rest as it provides different poetic devices and stylistics, which reveal what makes poetry. The third and fourth chapters concentrate on a critical evaluation of Yako's poems. The poetry, which is presented in these chapters, is selected from Yako's anthology entitled Ikhwezi. It represents a particular genre from a wide range of poetic forms that Yako has written. Chapter three concentrates on educators and the achievements of certain individuals. Chapter four concentrates on traditional leaders. It is in this chapter that Yako displays his expertise in the use of excellent and appropriate poetic devices and stylistics in his poetry. The fifth chapter contains general conclusions drawn from the entire study. Translations are provided for each poem and are contained in the appendix that is found at the end of this study, which is immediately followed by the bibliography. Yako's endeavour to bring light to the nation through poetry is admirable. Further research will unearth more art and craft in this author's poetry.
AFRIKAANSE OPSOMMING: Hierdie studie is verdeel in vyf hoofstukke. Die eerste hoofstuk bied In algemene inleiding tot die hele studie. Dit omskryf die omvang van die studie, die doelstelling en oogmerke, die navorsingsmetodologie, en gee In kort biografiese skets van St. J. Page Mbalana Yako. Die tweede hoofstuk gee 'n kort teoretiese agtergrond oor die studie van poësie. Dié hoofstuk dien as die basis vir die hele studie, omdat dit verskillende poëtiese middele en stylvorme uitlig wat die verskynsel van poësie verklaar. In die derde en vierde hoofstukke word gefokus op In kritiese evaluering van Yako se gedigte. Die gedigte wat in hierdie hoofstukke aangebied word, is geselekteer uit Yako se bloemlesing, getiteld Ikhwezi. Dit verteenwoordig 'n sekere genre uit In wye reeks poëtiese vorme wat deur Yako gebruik is. Hoofstuk drie se fokus is op opvoeders en die prestasies van sekere individue, en hoofstuk vier konsentreer op tradisionele leiers. In hierdie hoofstuk word Yako se kundigheid in die gebruik van uitstekende en toepaslike poëtiese middele en stylvorme uitgelig. Die vyfde hoofstuk bevat algemene afleidings gemaak uit die hele studie. Vertalings vir elke gedig word gegee in die bylae aan die einde van die studie. Yako se poëtiese bydrae is bewonderenswaardig. Verdere navorsing sal nog meer kuns en vernuf in hierdie digter se poësie na vore bring.

The main preoccupation in this thesis is to illustrate that, although there is no doubt that the missionaries deserve all the praise that they have been showered with, for their role in the development of Xhosa literature, there is a sense in which they can be said to have contributed as much also to its underdevelopment. It is my view that Xhosa literature has had a very unfortunate history, because of having an origin that is located in the history of Christianization. This history has haunted Xhosa literary creativity from its early beginnings to the present. The success of the mission to convert them to Christianity was anchored on the principle of total alienation of the Xhosa from their world-view: from their culture, from their religion, from their chiefs, from their literary art, and even from their homes. The intention was to turn them into new beings - Christian and loyal subjects of the British Crown - and to make them not only reject, but also despise their past. Therefore Western-style education for the Blacks in South Africa did not come out of any sense of altruism on the part of those by whom it was introduced. It was the interests of its initiators and their country that had to be served by the education of the Blacks. It was in this context that Xhosa literature was born. It was produced to promote the interests of the Christian church and therefore those of the British Crown. Its production was controlled by the missionaries, the owners of the publishing houses, but it was produced by the Christian and literate Xhosa most of whom had studied in mission schools. It was produced to crush the past and any aspirations that were in conflict with those of the Christian church and the British imperial designs. In short, it was a literature against its people. However, the Christian and literate Xhosa was never accepted as the equal of the other British subjects who were White. He was excluded from all law-making mechanisms and was affected by the many Native Laws that were passed, as badly as his non-Christian brothers and sisters. He witnessed land dispossession and all the other atrocities perpetrated by White rulers. His literary art had been harnessed to legitimize and perpetrate this situation and he dared not use his art to change it. It is in the light of this context that this thesis contends that Xhosa literature is between two worlds. It is argued that Xhosa literature, because of the writers' dilemma created by their position between these two conflicting universes, has been forced to be mute in the face of the Black people's experiences of oppression, and therefore to be indifferent to the Black people's struggles to resist colonization and to liberate themselves from this oppression. It is however, pointed out that some works are characterised by the writers' attempts to grapple with this dilemma. Finally this thesis advocates complete liberation of literary artists from state control, indirect though it may be, and also a change in the teaching and analysis of Xhosa literature.

Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: This study identifies the predominant features in JJR Jolobe's children's poetry (rhymes). Another purpose well worth considering is the impact poems can have on children's language because poetry is the highest literary form and without poetry a child will sense the loss. The language in poetry is learned in an immitative manner because it is natural to childhood thereby helping children to respond almost instictively. They hear languages as part of their early environment and take it through imitation. In Jolobe's poems children learn about:- 1. The physical background which constitute geographical location, natural scenery appropriate for narrative. 2. The spiritual background which includes the emotional climate created by religious moral, social and psychological conditions. One should note that the speaker's rhymes enable the youngsters to build upon the language facilities and attempts one has to improve so that a child can communicate in his culture in an affective and productive way. These poems help the child to keep the sense of nationality, describe their nature land lovingly and understand the essential quality of their own race. Through Jolobe's poems children do not overlook isiXhosa oral heritage at school level and let oral tradition of the other nations dominate. Furthermore critical theory reflects that Jalobe's rhymes are genuinely poetry meant for fun. Humorous and nonsensical verses often serve as outlets for laughter and fun. Jolobe's work follows briefly the history of the Xhosa nation tracing their tradition, culture and language whereby it reflects the mental behaviour of a group and reveal its love and its hatred of certain things.
AFRIKAANSE OPSOMMING: In hierdie studie word die hoofkenmerke in JJR Jolobe se kinderpoesië geïdentifiseer. Poësie het 'n groot impak op kinders se taalgebruik, dit vorm deel van hulle vroeë omgewing, en die verlies daarvan sal 'n negatiewe invloed op kinders hê. Die taal in poësie word aangeleer deur nabootsing, omdat dit natuurlik is vir kinders en hulle help om amper instinktief daarop te reageer. Jolobe se poësie leer kinders van: 1. Fisiese agtergrond, wat bestaan uit geografiese ligging en natuurtonele toepaslik tot die vertelling en 2. Spirituele agtergrond, wat die emosionele klimaat insluit wat geskep word deur godsdienstige, morele, sosiale en sielkundige toestande. Die poësie help kinders om 'n sin vir nasionalitiet te ontwikkel, dit beskryf hulle geboortelande met deernis en bevordre begrip vir die essensiële kwaliteit van hulle eie ras. Deur Jolobe se poësie herken kinders hulle mondelinge isiXhosa-erfenis op skoolvlak, en verseker dit sodoende dat hierdie erfenis nie deur die mondelinge tradisies van ander nasies gedomineer word nie. Kritiese teorie toon aan dat Jolobe se kinderpoësie ware poësie is wat pret vir die leser moet verskaf. Humoristiese en onsinnige verse dien telkens as uitlaatkleppe vir plesier en pret. Jolobe se werk beskryf die geskiedenis, tradisies, kultuur en taal van die Xhosanasie, en reflekteer sodoende die denkwyse en voor- en afkeure van die groep.

Thesis (M.A. (African Languages)) --University of Limpopo, 2014
The main aim of this study is to evaluate protest poetry in Mihloti (1981) and Xikolokolo nguvu ya Pitori (1987) by J.M. Magaisa with special references to theme, subject matter and the use of figures of speech.. Chapter 1 indicates the aim of the study, motivation, statement of the problem, research methodology, literature review and the key concepts which are used in this research. Chapter 2 explains the themes of the protest poetry in Magaisa’s poetry. In some explanation of the themes, some of the figures of speech have been used with the aim of making readers to understand his poetry. Chapter 3 indicates the modes of expression in Magaisa’ protest poetry. Some of the figures of speech and difficult terms have been explained in this chapter make people to understand them. Chapter 4 is the general conclusion which indicates the findings of the research and recommendations for further researches.
The University of Limpopo and C.S.D.

Thesis (M.A. (African Languages)) --University of Limpopo, 2015.
This research ‘Nxopaxopo wa switlhokovetselo hi ku kongomisa eka tsalwa ra Swilo swa humelela’ hi KJ Ngobeni na SJ Malungana highlights what happens in schools nowadays in the era of democracy. There is lack of discipline in schools. Educators are not respected by learners. Circuit managers no longer pay visits to schools for inspection. Black people fought to dismantle separate development, racial segregation and in particular to overthrow the white minority regime commonly known as Apartheid. This research also gives the historical background of protest poetry, its characteristics and its causes. Lastly, we analyse twenty selected poems from Swilo swa humelela by K.J Ngobeni and S.J Malungana. This research consists of five chapters. Chapter one outlines the background to the research, its aim and definition of important terms used in the study. These are terms about poetry such as protest poetry, enjambment and rhetorical questions. This chapter will also present the literature review. Chapter two examines the research methodology used in the study. Explication of two types of research methods, namely qualitative and quantitative research methods are discussed. Chapter three deals with protest poetry in details, its characteristics, origin, causes and its functions. Chapter four gives a critical analysis of twenty selected poems from the book Swilo swa humelela by K.J Ngobeni na S.J Malungana. Chapter five looks at the general conclusion, which indicates the research findings and recommendations of the study.

The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.

Text in English and Xhosa.
Translation of title: Socio-political themes in the poetry of Shasha.
Thesis (MA)--Stellenbosch University, 2001.
ENGLISH ABSTRACT: This study of socio-political issues examines Shasha's poetry. Chapter One is the introduction of this study and states the central aim of the study, the scope of the study, as well as the thematic approach followed in the entire study. Chapter Two is divided into five subheadings: • The poetry that is not politically aligned; • Pre-independence poetry; • The poetry about the warriors who fell in the struggle; • Post-independence poetry; and • Reconciliatory poetry. In the poetry that is not politically aligned, the author sometimes writes a poem, which, although not politically aligned, would have a theme dealing with politics. In the pre-independence poetry, the author emphasizes the situation that agonizes the blacks in their own indigenous land. He also stresses how the oppressors have succeeded in their work of oppression: the strategy of dividing and ruling them, and make them kill one another. In the poetry about the freedom fighters, the author portrays the gruesome ways in which they were slaughtered, examples of which are: - Steve Biko; Bathandwa Ndondo; Samora Machel and Chris Hani. Shasha praises these fallen heroes and maintains that their blood has sprinkled the arrival of the liberation. Even though they are dead the author sees them as if they are still alive because of their outstanding contribution in the struggle. In the post-independence poetry, the author highlights the disappointment of the blacks, as the situation is not what they expected, because of the unfulfilled promises by the black government in power. The author expresses disappointment because of unmeasurable corruption in the present government: nepotism is practiced, irrespective of qualifications. In the reconciliatory poetry, the author reconciles the different nations that are hostile to each other: the blacks and whites. He mentions different kinds of actions to be reconciled because he says that these actions happened were because of the apartheid regime. In Chapter Three, the author shows his knowledge about health issues, he does not only warn about different kinds of diseases, he also mentions the causes, effects and symptoms in the victims. It is evident from this chapter that the author is a qualified medical practitioner, as he shows confidence and knowledge in the issues he is writing about. In Chapter Four, the author observes problems that influence the social status of the people. The social issues he writes about stresses the fact that some of these diseases are not caused by physical aspects but also by by social problems. In Chapter Five, the author challenges people to return to the older times of customs and traditions. Studying Shasha's cultural poetry leaves the reader
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek sosio-politieke vraagstukke in die poësie van Shasha. Hoofstuk 1 is die inleiding tot die studie waarin die sentrale doelstelling en omvang van die studie uiteengesit word, asook die tematiese benadering wat in die studie gevolg word. Hoofstuk 2 word in vyf subafdelings ingedeel: • Poësie wat nie polities gerig is nie; • Voor-onafhanklikheids poësie; • Poësie oor vegters wat in die vryheidstryd gesterf het; • Na-onafhanklikheidspoësie; en • Versoeningspoësie. In die poësie wat nie polities gerig is nie, skryf die outeur nietemin soms 'n gedig wat handeloor 'n politieke tema. In die voor-afhanklikheids poësie, beklemtoon die digter die situasie wat pyn veroorsaak vir swartmense in hulle eie land. Hy wys daarop hoe die voormalige onderdrukkers daarin geslaag het om swartmense te onderdruk deur die strategie om hulle te verdeel en te regeer, wat daartoe gelei het dat hulle mekaar doodmaak. In die poësie oor die vryheidsvegters, die digter beeld die grusame wyses uit waarop hulle vermoor is, voorbeelde daarvan is Steve Biko, Bathandwa Ndanda, Samora Machel, en Chris Hani. Shasha prys hierdie gevalle helde en voer aan dat hulle bloed die aankoms van bevryding besprinkel het. Desnieteenstaande dat hulle gesterf het, sien die digter hulle asof hulle steeds leef op grond van hulle uitstaande bydrae tot die bevrydingstryd. In die na-onafhanklikheids poësie, behandel die digter die teleurstelling van swartmense, aangesien omstandighede nie is soos wat hulle verwag het nie as gevolg van onvervulde beloftes van die swart regering. Die digter spreek teleurstelling uit oor die groot mate van korrupsie in die regering van die dag. In die versoeningspoësie poog die digter om die verskillende bevolkingsgroepe wat vyandiggesind is teenoor mekaar, versoen: swartmense en witmense. Die digter noem verskillende tipes aksies wat versoen moet word, wat plaasgevind het weens apartheid. In Hoofstuk 3 toon die digter sy kennis van gesondheidsake. Hy waarsku nie slegs teen verskillende tipes siektes nie, maar verwys ook na die oorsake, effekte en simptome in die slagoffer. Dit is duidelik dat die digter 'n gekwalifiseerde mediese praktisyn is, aangesien hy vertroue het en kennis wys oor die vraagstukke waar hy dig. In Hoofstuk 4 word gedigte behandel waarin die digter skryf oor sosiale status van mense. Die sosiale vraagstukke wat in die gedigte behandel word, word veroorsaak deur fisiologiese, sowel as sosiale probleme. In Hoofstuk 5 word gedigte behandel wat die tema het dat mense moet terugkeer na tradisionele gebruike. Die studie van Sasha se poësie laat geen twyfel dat hy tradisionele waardes aanhang nie.

This study investigates the use of modern and izibongo (praise poetry) techniques in representing women in selected isiXhosa poems. The main interest of the study is to determine whether the same techniques to depict men are used when writing about women. It is also the interest of the study to ascertain how gender issues are dealt with in the selected poems. Seminal studies on izibongo by eminent scholars in this field show a serious lack of critique and little recognition of women in African languages’ poetry in general and in isiXhosa in particular. Pioneering studies in Nguni poetry about women have thus recommended that serious studies on poetry about women be undertaken. The analyses of selected poems by established isiXhosa poets show that modern poetry conventions are significantly used together with izibongo techniques. These techniques are used without any gender differentiation, which is another point of interest of this study. There are however instances where images specific to women are used. Such use has however not been found to be demeaning of women in any way. Poems where modern poetry forms and conventions are used tend to deal with subjects who have international or an urban area background. Even though the modern poetry conventions are used with izibongo techniques the presence of the modern literary conventions is prominent. This is the case particularly with poems about women in politics. That some female poet seems to accept some cultural practices that are viewed to be undermining the status of women does not take away the voice of protest against this oppression by some of the selected poets. These two voices, one of acceptance and the other one of protest are used as a basis for a debate around a need for a literary theory that addresses the question of African culture with special reference to isiXhosa poetry about women. The success of the selected poets with both modern and izibongo techniques is a good sign for the development of isiXhosa poetry in general and isiXhosa poetry about women. It is strongly recommended that continued research of a serious nature concerning poetry about, and produced by women, be undertaken.

This thesis is a critical examination of the poetry of S. M. Bums-Ncamashe. In his poetry Bums-Ncamashe handles poems of different categories; namely praise poetry, elegiac poetry, didactic poetry and protest poetry. He also employs a number of devices that determine amongst others, the form and imagery of his poetry. They are also used to add clarity to the meaning of his poetry. All this is discussed in the chapters numerated below: Chapter one outlines the basic guidelines to be followed in this study. It presents the aim of the study, scope of the work and method of research. A definition of the concept poetry is also provided in this chapter. The biography of Bums-Ncamashe and the influence of his background on his poetry are also part of this first chapter. Chapter two discusses the characteristics of Bums-N camashe' s praise poetry and the functions this poetry fulfils. Chapter three is a discussion ofBums-Ncamashe's elegiac, didactic and protest poetry. Chapter four discusses the devices that determine the form ofBums-Ncamashe's poetry. These include repetition, contrast, compounding, ideophones, and interjectives. Chapter five concentrates on imagery and other aspects of Bums-Ncamashe's poetry. Imagery is discussed from the viewpoint of simile, metaphor, personification and symbolism. Also included in this chapter is euphemism, hyperbole, idiomatic expressions, humour, satire and adaptation. Chapter six is a concluding chapter in which some findings and recommendations from the entire study are reflected upon.
African Languages
D.Litt. et Phil. (African Languages)

This study is premised on the assumption that foregrounding is the dominant feature of poetry. Such an assumption informs this study to the extent that it examines the role of foregrounding in isiXhosa modem poetry. Foregrounding, as an unusual or deviant usage of language, manifests itself as: metaphorical language, foregrounded sound, syntactic foregrounding and the variation of rhythmico-metrical structure. These are called foregrounding techniques. However, this study deals only with the first three foregrounding techniques. Qangule's poetry furnishes this study with examples that are used to illustrate that foregrounding plays a significant role in isiXhosa modem poetry. The foregrounding techniques depict, illustrate, dramatize and suggest the meaning of a poem. They also have the ability to do that in a collaborative manner. Such a claim is evidenced by the comprehensive analysis and interpretation of the poem Ukubonga (To praise).
African Languages
M.A. (African Languages)

M.A.
This dissertation investigates the work of black women poets in South Africa during the period 1970 - 1991, within the context of race and gender politics. The period 1970 - 1991 represents the approximately two decades in which black poetry became recognised as an important development in South African literary studies. Although several studies of the work of black male poets have been written, hitherto no substantial study of the writings of black women poets, in particular, has been undertaken. Although relatively few black women poets published their work during this era, when compared to their male counterparts, this critical survey will attempt to give a broad overview of the poetry black women produced. Focusing on poetry written in English, this dissertation will argue that the majority of black women poets writing during this period harnessed their writing to the anti-Apartheid or liberation struggle in South Africa. Many of these poets regarded their writing as a 'cultural weapon' which could contribute to political transformation, and although few regarded themselves as 'feminist' poets, their poetry reveals a deep concern with gender oppression as well as racial and class oppression. Chapter one, the introduction, focuses on the way in which black South African women poets have been largely ignored, neglected and 'silenced' by the majority of critics. This chapter will also consider some of the factors that may have prevented more black women from producing and publishing poetry: social factors such as education, literacy and access to publication will be explored. The second chapter explores the emergence of South African 'protest poetry', and focuses on the poetry of Jennifer Davids and Gladys Thomas in relation to the 'protest' tradition. It will be argued that while poet Gladys Thomas defined her writing in terms of 'protest' literature, Jennifer Davids produced a more introspective, personal poetry that was primarily concerned with the difficulties of 'finding an individual voice' in the South African environment. The third chapter focuses on the more intensified phase of 'protest poetry' which was produced after 1976 by the growing culture of literary activism in the black townships, and will show how women poets write of the suffering specific to township women. This chapter will also focus on an analysis of gender oppression within the poets' own homes and communities, as well as celebrations of political activities by women. In particular, this chapter concentrates on women's poetry published in the literary magazine, Staffrider, established to promote the work of black writers. The Trade Union Movement was a major influence on literary production during this time, as we shall see from the 'worker poetry' produced by many women in the 1980s. Chapter four will concentrate on the poetry produced by black South African women in exile, most of whom were active in the ANC. It will be argued that rather than producing introspective poetry about the condition of exile, these women harnessed their writing to `the struggle'. This poetry can broadly be defined as 'resistance' or 'liberation' poetry. Some of these poets also explore the issue of gender in relation to liberation politics.

In the Apartheid South Africa, repression and the heightening of the Blacks' struggle for political emancipation, prompted artists to challenge the system through their music, oral poetry and writing. Most produced works of protest in English to reach a wider audience. This led to the general misconception that literatures in the indigenous languages of South Africa were insensitive to the issues of those times. This study seeks firstly to put to rest such misconception by proving that there is Commitment in these literatures as exemplified in the poetry of S.F. Motlhake. Motlhake not only expresses protest against the political system of the time, but also questions some religious and socio-cultural practices and institutions among his people. The study also examines his selected works as genuine poetry, which does not sacrifice art on the altar of propaganda.
African Languages
M.A. (African Languages)

This study pursues the quest and struggle for total liberation in post-independence Shona poetry. The study also relies on views of key respondents obtained through interviews and questionnaires. Couched and guided by Afrocentricity and Africana womanism, the study elucidates the politico-economic and socio-cultural factors that militate against Africa’s total liberation in general as well as women’s liberation, respectively. Simultaneously, critical judgments are passed on the extent to which poets immerse their art in African existential philosophy. The study is energized by the idea that pursuing the quest for authentic liberation provides a lens through which one can understand threats to Africa’s true liberation. It observes that poets and key informants largely attribute ersartz independence to internal problems. The researcher holds that it is problematic to hold a domesticated vision of the African condition to the extent that poets and other literary workers need to widen their canvas beyond fighting internal oppression and internationalise the struggle. The researcher argues that it is myopic and self-defeating to protest against Africa itself without giving adequate attention to the incapacitating hegemonic world system. Therefore, the poetry is lacking on its critique on domination. The centerpiece of the thesis is that in order to be purposeful and functional, poets need to grapple with both endogenous and exogenous factors that obstruct the march towards genuine liberation. The study also observes that in some instances poets produce cheap literature which is marked by a narrow and moralistic approach and this is attributable to the fact that poets lack a scientific vision in understanding reality. Concerning women’s authentic liberation, the commonly identified obstacles to women’s freedom are the male counterpart, self-depreciation, lack of education and culture. The study observes that women poets in Ngatisimuke (1994) and key respondents seem to approach gender relations from a feminist perspective and hence fail to situate women’s condition in the context of the history and culture that shape African gender relations. Women poets in Ngatisimuke fall short of internationalising their struggle in concert with the male counterpart such that their poetry degenerates into sponsored and misguided activism.
African Languages
D. Litt. et Phil. (African Languages)