Relevant bibliographies by topics / Shona poetry – History and criticism

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  2. Dissertations / Theses
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Academic literature on the topic 'Shona poetry – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Shona poetry – History and criticism"

1

Gibbs, James, and Emmanuel Mudhliwa Chiwome. "A Critical History of Shona Poetry." World Literature Today 72, no. 1 (1998): 193. http://dx.doi.org/10.2307/40153701.

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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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Mutasa, D. E., and W. L. Chigidi. "Black writers’ Shona novels of the liberation war in Zimbabwe: an art that tells the truth of its day." Literator 31, no. 2 (July 13, 2010): 61–82. http://dx.doi.org/10.4102/lit.v31i2.47.

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Over the years Shona fiction that portrays Zimbabwe’s liberation war has been a subject of severe criticism because of its tendency to falsify and distort history. This article attempts to provide answers to the question of why authors of Shona war fiction tended to romanticise the war of liberation. In pursuance of this objective this article looks at circumstances and conditions that prevailed at the time that most of the Shona stories about Zimbabwe’s liberation war were written. These stories were published during the first decade of Zimbabwe’s independence and it is possible to look at this time and come up with a set of interdependent cultural, economic, political and ideological conditions that helped to shape writers’ perspectives on the war. The article argues that the conditions of artistic freedom that interfaced with internalised fear, the euphoria and celebration, the dominant ideology of the time, as well as the situation of competition were responsible for shaping the consciousness of the war fiction writers. In this article views expressed in interviews by some of the writers of Shona war fiction are taken into consideration. All interviews with authors referred to in the article were carried out by the researcher.
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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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Mamvura, Zvinashe, and Shumirai Nyota. "The Form and Communicative Impact of Shona Postproverbials." Matatu 51, no. 2 (September 21, 2020): 282–98. http://dx.doi.org/10.1163/18757421-05102005.

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Abstract This article explores the syntax-semantics nexus of Shona postproverbials in the contemporary Zimbabwean society. In terms of syntax, Shona postproverbials are aligned to the following types of sentences found in the Shona language; substantival, verbal, and a combination of both. Like traditional proverbs, there is no postproverbial that takes the form of the ideophonic sentence. The communicative power of postproverbials is an inherent, inbuilt, and internal property stemming from their syntactic and lexical properties. The postproverbial forms, studied in this article, exhibit innovation and ingenuity of the users. The communicative force of the postproverbials arises from the correspondence and cross-correspondence of the structures and grammatical items that constitute them. Congruence and contrast of the lexical items found in the postproverbials also contribute to meanings. The study established that, just like the traditional proverbs, postproverbials are pithy and terse philosophical statements that resonate with a people’s collective experience. In most cases, the postproverbials provide a conduit for people to comment on issues regarded as politically ‘taboo’ and sensitive in a society where the state does not tolerate open criticism.
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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.

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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (April 16, 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.

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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Dissertations / Theses on the topic "Shona poetry – History and criticism"

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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.

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Kokotailo, Philip 1955. "Appreciating the present : Smith, Sutherland, Frye, and Pacey as historians of English-Canadian poetry." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39772.

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This thesis argues that as historians of English-Canadian poetry, A. J. M. Smith, John Sutherland, Northrop Frye, and Desmond Pacey explicitly promote the value of past conflict reconciled into present harmony. They do so by claiming that such reconciliation marks the maturity of English-Canadian culture. This thesis also argues, however, that the interactive progression of their histories implicitly undermines this value. It does so because each critic appreciates a different group of poets for realizing their shared cultural ideal, thereby establishing contradictory representations of what they all claim to be the culmination of English-Canadian literary history. The thesis concludes that while their lingering sense of present cultural maturity should now be fully renounced, the value these critics place on reconciliation is well worth preserving and transforming.
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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Mona, Godfrey Vulindlela. "Ideology, hegemony, and Xhosa written poetry, 1948-1990." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002172.

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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.
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Ming, Yau-yau, and 明柔佑. "Qing poetry on Ming." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44204723.

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Ellis, Toshiko 1956. "The modernist dilemma in Japanese poetry." Monash University, School of Asian Languages and Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8720.

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Kaze, Douglas Eric. "The environmental imagination in Arthur Nortje’s poetry." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/58024.

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This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.
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Travis, Isabelle. "The poetry of pain : trauma, madness and suffering in post-World War II American poetry." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553108.

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Wan, Yu-pui, and 溫羽貝. "Time and space in Zheng Chouyu's Poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B3963405X.

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Books on the topic "Shona poetry – History and criticism"

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Chiwome, Emmanuel. A critical history of Shona poetry. Harare: University of Zimbabwe Publications, 1996.

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Pongweni, Alec J. C. Shona praise poetry as role negotiation: The battles of the clans and the sexes. Gweru, Zimbabwe: Mambo Press, 1996.

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Shoka jihitsubonshū. Nara-ken Tenri-shi: Tenri Daigaku Shuppanbu, 1999.

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Kudzidza nokudzidzisa nhetembo. Harare: SAPES Books, 1997.

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Shoka kaitai: Ōchō waka kara chūsei waka e. Tōkyō: Seikansha, 2010.

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Genroku Edo haidan no kenkyū: Shōfū to Genroku shoha no haikai. Tōkyō-to Bunkyō-ku: Perikansha, 2015.

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Lalita Nārāyaṇa Mithilā Viśvavidyālaya. Shuʻbah-yi Urdū, ed. Qaumī yakjahatī ke farog̲h̲ men̲ Urdū shuʻrā kā kirdār: Qaumi yakjahti ke farogh mein Urdu shora ka kirdar. Darbhangah: Shuʻbah-yi Urdū, Lalit Nārāʼin Mithlā Yūnīvarsiṭī, 2012.

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Fujii, Reiichi. Amami bungei hihyō =: Amami literary reviews : literary reviews of novels, critical essays, poetry, tanka and haiku books issued in Amami Islands during the twenty four years in Showa and Heisei era. Kagoshima-shi: Nanpō Shinsha, 2010.

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Fujii, Reiichi. Amami bungei hihyō =: Amami literary reviews : literary reviews of novels, critical essays, poetry, tanka and haiku books issued in Amami Islands during the twenty four years in Showa and Heisei era. Kagoshima-shi: Nanpō Shinsha, 2010.

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Chiwome, Emmanuel. A social history of the Shona novel. [Kadoma] Zimbabwe: Juta Zimbabwe (Pvt), 1996.

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Book chapters on the topic "Shona poetry – History and criticism"

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Zhao, Yiheng. "Pure Poetry, Impure Criticism, and the Power of Academia: Some Paradoxes Concerning the History of New-Wave Poetry." In The River Fans Out, 191–200. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_12.

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"Modernism and criticism." In A Linguistic History of English Poetry, 169–214. Routledge, 2005. http://dx.doi.org/10.4324/9780203978702-14.

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Kerkering, John D. "Theories of poetry." In The Cambridge History of Literary Criticism, 524–38. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781139018456.035.

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Keach, William. "Poetry, after 1740." In The Cambridge History of Literary Criticism, 117–66. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.005.

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Sambrook, James. "Poetry, 1660-1740." In The Cambridge History of Literary Criticism, 73–116. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.004.

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Ferrari, G. R. F. "Plato and poetry." In The Cambridge History of Literary Criticism, 92–148. Cambridge University Press, 1990. http://dx.doi.org/10.1017/chol9780521300063.004.

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Wimsatt, William K., and Cleanth Brooks. "Aristotle’s Answer: Poetry as Structure." In Literary Criticism: A Short History, 21–34. Routledge, 2021. http://dx.doi.org/10.4324/9781003140917-3.

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Moss, Ann. "Theories of poetry: Latin writers." In The Cambridge History of Literary Criticism, 98–106. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.010.

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Trimpi, Wesley. "Sir Philip Sidney'sAn apology for poetry." In The Cambridge History of Literary Criticism, 187–98. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.020.

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Murphy, J. J. "The arts of poetry and prose." In The Cambridge History of Literary Criticism, 42–67. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521300070.004.

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