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1
Musau, John M. "Gudrun Miehe, Die Sprache der älteren Swahili Dichtung (Phonologie und Morphologie)." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-95401.
Full textAbstract:
For the students of Swahili poetry that predates the twentieth century (e.g. Muyaka, Alinkishafi, Mwana Kupona, Hamzivva and others) there has always been a dire need for a book which could aid in the understanding of this poetry. This need is made acute by two main reasons: Firstly, classical Swahili poetry is written partly in what is known as Kingozi, an archaic form of language believed by many to be some kind of proto-Swahili. Secondly, the language of old Swahili poetry also incorprates a lot of features from the northern dialects of Swahili (e.g. Kiarnu, Kip ate, Kisiu etc) This combination of archaic Swahili and features from the northern dialects of the language renders both the understanding and the explication of the pre-twentieth Swahili poetry rather difficult for many readers.
2
Zúbková-Bertoncini, Elena. "Some remarks on Kithaka wa Mberia's poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90886.
Full textAbstract:
Kithaka wa Mberia (b.1956) is one of the most innovative Kenyan poets. Until now he has published four collections of poems and three plays. His poems contain a strong political and social criticism, sometimes in the form of animal allegories. He condemns various acts of violence done to women, like rapes of schoolgirls or prostitution caused by poverty. Some compositions seem life-stories of real persons, others are overtly didactic and moralizing, but in all the theme of social justice is almost obsessive. Another group of poems highlights the author’s concern with his surroundings and with the “health conditions” of the Earth in general; thus, for instance, he denounces
the devastation of Kenyan soil in order to get foreign currency. His love of nature makes him address affectionate verses to animals, insects and plants.
Formally the poems have little in common with the poetic tradition of the Swahili coast as they are in free verse. Kithaka exhibits a rich vocabulary of botanical and zoological terms and is fond of
various forms of word-playing like chiming and punning; an important role in his poetry is played by parallelism. Moreover, he introduces into Kiswahili visual poems where typography is relied upon to perform expressive effects.
Kithaka wa Mberia, together with other East African contemporary poets, proves that Swahili poetry is able to express universal themes and can reach a high artistic value even without repeating traditional models.
3
Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91009.
Full textAbstract:
Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
4
Zúbková-Bertoncini, Elena. "Some remarks on Kithaka wa Mberia's poetry." Swahili Forum 17 (2010), S. 91-103, 2010. https://ul.qucosa.de/id/qucosa%3A11480.
Full textAbstract:
Kithaka wa Mberia (b.1956) is one of the most innovative Kenyan poets. Until now he has published four collections of poems and three plays. His poems contain a strong political and social criticism, sometimes in the form of animal allegories. He condemns various acts of violence done to women, like rapes of schoolgirls or prostitution caused by poverty. Some compositions seem life-stories of real persons, others are overtly didactic and moralizing, but in all the theme of social justice is almost obsessive. Another group of poems highlights the author’s concern with his surroundings and with the “health conditions” of the Earth in general; thus, for instance, he denounces
the devastation of Kenyan soil in order to get foreign currency. His love of nature makes him address affectionate verses to animals, insects and plants.
Formally the poems have little in common with the poetic tradition of the Swahili coast as they are in free verse. Kithaka exhibits a rich vocabulary of botanical and zoological terms and is fond of
various forms of word-playing like chiming and punning; an important role in his poetry is played by parallelism. Moreover, he introduces into Kiswahili visual poems where typography is relied upon to perform expressive effects.
Kithaka wa Mberia, together with other East African contemporary poets, proves that Swahili poetry is able to express universal themes and can reach a high artistic value even without repeating traditional models.
5
Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Swahili Forum 11 (2004) S. 75-81, 2004. https://ul.qucosa.de/id/qucosa%3A11490.
Full textAbstract:
Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
6
Ranne, Katriina. "Heavenly drops: the image of water in traditional Islamic Swahili poetry." Swahili Forum 17 (2010), S. 58-81, 2010. https://ul.qucosa.de/id/qucosa%3A11479.
Full textAbstract:
Iba Ndiaye Diadji, a Senegalese professor of aesthetics, sees water as intrinsic to African ontology. He also argues that water is the most important substance to inspire African artists. (Diadji 2003: 273–275.) Water certainly has a significant role in Swahili poetry, written traditionally by people living on the coast of the Indian Ocean. Swahili poems have used aquatic imagery in expressing different ideas and sensations, in different contexts and times. Water imagery can be found in hundreds of years old Islamic hymns as well as in political poetry written during the colonial German East Africa. This article discusses water imagery in traditional Islamic Swahili poetry.
7
Musau, John M. "Gudrun Miehe, Die Sprache der älteren Swahili Dichtung (Phonologie und Morphologie)." Swahili Forum; 2 (1995), S. 216-217, 1995. https://ul.qucosa.de/id/qucosa%3A11632.
Full textAbstract:
For the students of Swahili poetry that predates the twentieth century (e.g. Muyaka, Alinkishafi, Mwana Kupona, Hamzivva and others) there has always been a dire need for a book which could aid in the understanding of this poetry. This need is made acute by two main reasons: Firstly, classical Swahili poetry is written partly in what is known as Kingozi, an archaic form of language believed by many to be some kind of proto-Swahili. Secondly, the language of old Swahili poetry also incorprates a lot of features from the northern dialects of Swahili (e.g. Kiarnu, Kip ate, Kisiu etc) This combination of archaic Swahili and features from the northern dialects of the language renders both the understanding and the explication of the pre-twentieth Swahili poetry rather difficult for many readers.
8
Rettová, Alena. "Philosophy in Utenzi metre: expression of ideas and values in postindependence Swahili historiographic poetry." Swahili Forum 17 (2010), S. 34-57, 2010. https://ul.qucosa.de/id/qucosa%3A11478.
Full textAbstract:
Makala haya yanachanganua jinsi dhana za kifalsafa zinavyoakisiwa katika ushairi wa Kiswahili yakizingatia hasa tenzi zilizoandikwa kuhusu historia za dola za Kiafrika baada ya kupatikana kwa Uhuru. Tenzi nyingi za kundi hili zilitungwa Tanzania wakati wa ujamaa, ndiyo maana itikadi zinazoelezwa zaidi katika tenzi hizi zinahusiana na falsafa ya ujamaa. Uelekeo huu unaonyeshwa katika uchambuzi wa Utenzi wa Pambazuko la Afrika uliotungwa na Mohammed Seif Khatib na kuchapishwa mwaka 1982, ambao unaakisi falsafa ya ujamaa, itikadi za umoja wa Afrika (Panafricanism) na upingani wa ukoloni, ukigusana pia na imani ya Afrika kuwa chanzo cha mawazo mengi ya kifalsafa (Afrocentrism).
Kwa namna hii, inaonekana kwa uwazi kwamba utungaji wa tenzi ni njia muhimu sana ya kueleza falsafa ya kisiasa na ya kihistoria katika utamaduni wa Kiswahili. Njia hii inalingana na njia nyinginezo: mawazo hayohayo yanaelezwa vilevile katika vitabu vya kitaaluma (kwa mfano, vitabu vya Mwalimu Nyerere kuhusu ujamaa), katika riwaya, au katika ushairi wa aina nyingine (kama vile mashairi, ngonjera, n.k.). Tenzi nyingine za hili kundi la ‘tenzi za Uhuru’ zinaakisi vilevile falsafa za aina nyingine, ikiwemo falsafa ya kidini inayotokana na dini ya Uislamu au falsafa ya ‘utu’, ambayo ina mizizi mirefu sana katika tamaduni nyingi za Afrika.
Kwa kumaliza, makala yanasisitiza kwamba, tukipenda kufahamu ‘falsafa ya Kiafrika’ ni nini, ni lazima tutazame njia zilizoko na vyombo vilivyoko katika tamaduni za Kiafrika vya kuelezea dhana na thamani, bila ya kutarajia kwamba njia hizo na vyombo hivyo vitakuwa vilevile au vitafanana kimsingi na vyombo vya kawaida vya kuelezea falsafa katika tamaduni za Magharibi (yaani maandishi ya kitaaluma kuhusu falsafa). Ushairi ni njia mojawapo, tena muhimu sana, ya
kueleza mawazo ya kifalsafa katika utamaduni wa Kiswahili, lakini ziko na njia nyingine, kama vile maelezo ya taaluma mbalimbali na tanzu nyingi za fasihi na sanaa, ambazo inafaa zitambulikane na ichambuliwe katika fani ya falsafa.
9
Vierke, Clarissa. "Of plants and women." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91137.
Full textAbstract:
In contrast to the \'classical Islamic tendi\' where the action as well as the setting is commonly detached from the environmental context of the Swahili coast, the Liyongo poems show an abundance of detailed descriptions and enumerative reviews of material items crucial and characteristic of the particular East African shares of Swahili culture. Frequently reference is also made to the natural environment as plants and their fruits play a prominent role as requisits of both the Swahili natural and cultural setting. Apart from being exploited as central requisite and being referred to as material source in the poems, plants are also extensively used for similes. The Liyongo poems are full of culturally metaphors which are context-dependent and sometimes render the text rather obscure.
Without denying that there is, of course, also contemporary poetry employing plants as subject matter or metaphors, in this article I focus on two thematically close poems which we vaguely have to classify as \"old\" while not being able to give exact dates. Although the article suggests to be a thematic view on Swahili poetry, it is primarily a text edition of two poems, the \"Song of the Mjemje\" and the \"Shairi la Mtambuu\", which are both presented together with a critical apparatus.
10
Rettová, Alena. "Philosophy in Utenzi metre." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-90858.
Full textAbstract:
Makala haya yanachanganua jinsi dhana za kifalsafa zinavyoakisiwa katika ushairi wa Kiswahili yakizingatia hasa tenzi zilizoandikwa kuhusu historia za dola za Kiafrika baada ya kupatikana kwa Uhuru. Tenzi nyingi za kundi hili zilitungwa Tanzania wakati wa ujamaa, ndiyo maana itikadi zinazoelezwa zaidi katika tenzi hizi zinahusiana na falsafa ya ujamaa. Uelekeo huu unaonyeshwa katika uchambuzi wa Utenzi wa Pambazuko la Afrika uliotungwa na Mohammed Seif Khatib na kuchapishwa mwaka 1982, ambao unaakisi falsafa ya ujamaa, itikadi za umoja wa Afrika (Panafricanism) na upingani wa ukoloni, ukigusana pia na imani ya Afrika kuwa chanzo cha mawazo mengi ya kifalsafa (Afrocentrism).
Kwa namna hii, inaonekana kwa uwazi kwamba utungaji wa tenzi ni njia muhimu sana ya kueleza falsafa ya kisiasa na ya kihistoria katika utamaduni wa Kiswahili. Njia hii inalingana na njia nyinginezo: mawazo hayohayo yanaelezwa vilevile katika vitabu vya kitaaluma (kwa mfano, vitabu vya Mwalimu Nyerere kuhusu ujamaa), katika riwaya, au katika ushairi wa aina nyingine (kama vile mashairi, ngonjera, n.k.). Tenzi nyingine za hili kundi la ‘tenzi za Uhuru’ zinaakisi vilevile falsafa za aina nyingine, ikiwemo falsafa ya kidini inayotokana na dini ya Uislamu au falsafa ya ‘utu’, ambayo ina mizizi mirefu sana katika tamaduni nyingi za Afrika.
Kwa kumaliza, makala yanasisitiza kwamba, tukipenda kufahamu ‘falsafa ya Kiafrika’ ni nini, ni lazima tutazame njia zilizoko na vyombo vilivyoko katika tamaduni za Kiafrika vya kuelezea dhana na thamani, bila ya kutarajia kwamba njia hizo na vyombo hivyo vitakuwa vilevile au vitafanana kimsingi na vyombo vya kawaida vya kuelezea falsafa katika tamaduni za Magharibi (yaani maandishi ya kitaaluma kuhusu falsafa). Ushairi ni njia mojawapo, tena muhimu sana, ya
kueleza mawazo ya kifalsafa katika utamaduni wa Kiswahili, lakini ziko na njia nyingine, kama vile maelezo ya taaluma mbalimbali na tanzu nyingi za fasihi na sanaa, ambazo inafaa zitambulikane na ichambuliwe katika fani ya falsafa.
11
Njozi, Hamza Mustafa. "Critical artistry in Utenzi wa Shufaka." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-93065.
Full textAbstract:
For the past 150 years studies on Kiswahili language, literature and culture have engaged the scholarly attention of many researchers (Hauner 1979. In their analyses of Kiswahili literary works, however, most critical studies have, generally, tended to neglect the aspect of artistic design. Instead, the central focus has primarily been on two interlocking aspects of these works: (1) their content, values or thematic messages and (2) their cultural and socio-historical contexts (Dorsey 1988). This widespread tendency to undervalue the importance of artistic design in Kiswahili literary works is not surprising as it was largely promoted by some of the earlier European authorities who popularised the idea that Kiswahili literature `is not of literary interest´ and `that social, cultural, and historical commentary by anthologists are more relevant to this literature than literary study´ (Biersteker and Plane 1989:451). It is encouraging to see, however, that in recent years more and more scholars, like Mlamali (1980), Fiedel and Shariff (1986), Biersteker (1991) and Mbele (1996), to mention but a few, address issues of artistic design in their critical appraisals of Kiswahili literary works. This article is a modest attempt to follow their example by looking at Utenzi wa Shujaka as an object of design; how the poet has used the technical instruments of verbal craftsmanshjp in his bid to elicit an aesthetic response from his audience.
12
Frolova, Natalya S. "The "renovated" poetry of Theobald Mvungi and Said Ahmed Mohamed: on mechanisms of transformation of traditional Swahili verse." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91073.
Full textAbstract:
Contemporary Swahili poetry is developing according to three main trends. The followers of the first trend - the so called "traditionalists" - stick to classic forms of old Swahili poetry. Following the Swahili canon of versification, traditionalists continue to be within the limits of two main genres of old Swahili literature - tendi (long poems) and mashairi (moderate lyrics and philosophical verses).
In Swahili poetry foregoing sudden changes were marked by the appearance of a group of young authors on the poetic stage in the 1970s, who gave a dare to tradition. Their venture radically changed the character of Swahili literature, marking the appearance of the second trend of Swahili poetry, the \\\"new\\\" or \\\"modernistic\\\" poetry. But along with traditional and \\\"modernistic\\\" schools there exists a third trend of Swahili poetry - it is that sort of versification, which one may call \\\"transitional\\\". In general it looks lile pure \\\"modernism\\\", where at first sight one cannot see even the faintest resemblance with the traditional canon, but the more careful search makes it obvious that there is a true continuity between traditional and contemporary art. The best examples of such transformation are the poems of two prominent figures of contemporary Swahili poetry, the Tanzanians Theobald Mvungi and Said Ahmed Mohamed.
13
Mutiso, Kineene Wa. "Kasida ya Hamziyyah (part 1)." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98128.
Full textAbstract:
Kasida ya Hamziyyah, yumkini, ndiyo tafsiri ya Kiswahili ya zamani zaidi.
Kiswahili kilichotumiwa katika ukawafi huu kimechakaa sana hata
maneno mengine hayatumiki tena. Hii ni kasida ambayo ni maarufu
sana katika ulimwengu wa fasihi na dini ya Kiislamu na Waswahili
huikariri wakati wa sherehe za Maulidi ya Nabii Muhammadi au
wanapocheza Twari la Ndiya. Kasida hii ya Hamziyah pia hujulikana
kama Chuo cha Hamziyah au Utenzi wa Hamziyah. Kasida ya
Hamziyyah ilitafsiriwa kutoka kwa Kiarabu na Sayyid Aidarus bin
Athumani bin Sheikh Abubakar bin Salim hapo mwaka wa 1652b.
Pamoja na kuinukuu kwa hati za Kirumi nimebawibu Hamziyah katika
sehemu mbalimbali, kulingana na maudhui yake, ili iweze kusomeka
kwa urahisi na iweze kuwavutia wasomaji. Katika miswada ya Kiswahili
niliyoipata, mswada mmoja una ubeti mmoja zaidi.
14
Indede, Florence Ngesa. "Mabadiliko katika umbo la ushairi na athari zake katika ushairi wa Kiswahili." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98322.
Full textAbstract:
Mwanadamu amejaribu kwa vyovyote vile kuvumbua na kunyumbua mambo mapya ambayo yataleta mvuto na kupimia akili yake kiubunifu katika hali ya kutaka kutangamana zaidi na binadamu mwenzake au kutaka kuelewa zaidi ulimwengu wake. Ndiposa washairi wengi wa kisasa wanashikilia kwamba ulimwengu unabadilika na hivyo utamaduni wa ushairi lazima ubadilike. Katika wasilisho hili tunajadili mabadiliko haya ya kimaumbo na athari zake katika ushairi wa Kiswahili. Si lengo letu kushawishi msomaji kujiunga na kikundi fulani cha ushairi bali kuangazia hoja mwafaka zinazotokana na mivutano na mikinzano katika mabadiliko haya, na namna mitazamo hii inavyofanikisha maendeleo ya ushairi.
15
Indede, Florence. "Mwanamke angali tata katika ushairi wa kisasa?" Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98382.
Full textAbstract:
Sanaa ya ushairi inajisawiri kama nyenzo muhimu katika maendeleo na ukuaji wa binadamu ulimwenguni. Ujenzi wa taswira zinazowasilisha mada nyeti za kijamii ni changamoto ya kiusanii inayoibua maswala tata. Ndiposa wasilisho hili linachunguza mjadala wa usawiri wa mwanamke katika ushairi wa kisasa. Mada nyingi zinazohakiki matini za kishairi hulenga miuundo, mitindo na maswala mengineyo ya kijamii bila kuangazia swala la utata wa mwanamke. Uzingatifu wa vipengee hivi umefifisha uangafu wa taswira ya mwanamke katika ushairi wa Kiswahili kana kwamba ushairi umempuuza mwanamke kama mhusika mkuu. Tunachukulia kwamba matini za kishairi za kisasa zinahusisha mbinu na nyenzo mpya ambazo zimebadilisha sura na taswira ya mwanamke. Maswali yanayoibuka ni; Je, Mwanamke angali tata katika ushairi wa kisasa kwenye enzi ya karne ya ishirini na moja? Je, umbo jipya la mwanamke ni lipi katika ushairi wa kisasa?
16
Bertoncini-Zúbková, Elena. "Beyond the Utenzi: narrative poems by Theobald Mvungi." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91786.
Full textAbstract:
Some time ago I came across a tiny collection of poems called Chungu tamu by Theobald Mvungi. The author was born in Mwanga province (Kilimanjaro) probably in the Fifties, as he graduated from the University of Dar es Salaam in 1975 and gained his M.Ed. degree in Nigeria (Ibadan) in 1978. He published his first collection of poems, Raha karaha, in 1982 and his third one, Mashairiya Chekacheka, in 1995. All Mwangi`s poems deal with social problems, but only those of the second collection are formally innovative. Five of the twenty poems of this collection tell a story and I am going to investigate three of them. It is striking and quite unusual in Swahili poetry to present the narration itself as another story. However, it is not the first time that it occurs in modern Swahili poetry. In fact, for instance Kezilahabi´s poem Hadithiya kitoto (from the collection Kichomi, 1974) opens with the scene of the narrator - the grandfather - sitting close to a fire with his grandchildren who want to be told a story, while roasting birds and potatoes. The last two strophes contain grandfather´s comment, i.e. a moral message. Thus the narrative act itself is represented, as it often happens in prose fiction. But whereas in Kezilahabi it only opens or frames the main story, in Mvungi the narrator´s interferences are intermingled with the main story to such an extent that in fact two parallel stories are narrated. I will call them the frame story and the main story.
17
Omar, Yahya Ali. "Burdai ya Al-Busiri." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97744.
Full textAbstract:
The Burda (or `mantle´), an Arabic poem in praise of the prophet Muhammad (s. a.u.), was composed in Egypt by the 7th /13th century poet al-Busiri. Over the centuries the Burda of al-Busiri has become familiar in many parts of the Islamic world, including Swahili-land -where it is known as Burdai. Although it has already been translated into Swahili verse, this seems to be the first occasion that the Burdai has been translated into Swahili prose (into kiMvita, the speech of Swahili Mambasa). The translation which follows employs a new system of orthography which now appears in print for the very first time.
18
Samsom, Ridder H. "Tungo za Mzee Kimbunga: Haji Gora Haji." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97759.
Full textAbstract:
Haji Gora Haji (1933) is a Swahili poet from Tumbatu. Some people in Zanzibar call him `The Old Hurricane´ after the title and the first poem of his anthology Kimbunga (1994 Dar es Salaam: Taasisi ya Uchunguzi wa Kiswahili) that made him well-known all over Taniania. While making a living from the sea, as a fisherman, porter in the harbour, sailor and transporter of cloves, he has been composing, since 1955, a large amount of ngoma and taarab songs, riddles, tenzi and mashairi, short stories and, recently, a short novel. This paper discusses metaphors and images that are characteristic of Haji Gora`s work, the way in which they reveal his identity and how they have been put in terms of contradictions and oppositions.
19
Frolova, Natalya S. "The "renovated" poetry of Theobald Mvungi and Said Ahmed Mohamed: on mechanisms of transformation of traditional Swahili verse." Swahili Forum 14 (2007), S. 5-15, 2007. https://ul.qucosa.de/id/qucosa%3A11498.
Full textAbstract:
Contemporary Swahili poetry is developing according to three main trends. The followers of the first trend - the so called "traditionalists" - stick to classic forms of old Swahili poetry. Following the Swahili canon of versification, traditionalists continue to be within the limits of two main genres of old Swahili literature - tendi (long poems) and mashairi (moderate lyrics and philosophical verses).
In Swahili poetry foregoing sudden changes were marked by the appearance of a group of young authors on the poetic stage in the 1970s, who gave a dare to tradition. Their venture radically changed the character of Swahili literature, marking the appearance of the second trend of Swahili poetry, the \\\"new\\\" or \\\"modernistic\\\" poetry. But along with traditional and \\\"modernistic\\\" schools there exists a third trend of Swahili poetry - it is that sort of versification, which one may call \\\"transitional\\\". In general it looks lile pure \\\"modernism\\\", where at first sight one cannot see even the faintest resemblance with the traditional canon, but the more careful search makes it obvious that there is a true continuity between traditional and contemporary art. The best examples of such transformation are the poems of two prominent figures of contemporary Swahili poetry, the Tanzanians Theobald Mvungi and Said Ahmed Mohamed.
20
Samsom, Ridder. "Tungo za kujibizana: `Kuambizana ni sifa ya kupendana´." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98099.
Full textAbstract:
Different labels have been used for marking the reciprocity in Swahili dialogue poetry, varying between the more neutral `malumbano´ or `kujibizana´ and the more marked `ukinzani´ or `mashindano´. By showing a sample from the Zanzibari newspaper Mwongozi (1956) of a poetic dialogue on wife-husband relationships, the paper argues that the poetical form and the strong language used are not a mere expression of what has been called `rivalry´, but instruments in expressing views and opinions that have been observed in other literary devices (mithali, misemo, vijembe) and their usage. At the same time it is demonstrated that different types of poems (tenzi, mashairi, nyimbo) and different styles (plain, metaphoric, riddle) are used side by side. The ambiguity, incompleteness and strength of the language that is used in this poetry, make it all possible to express views on sensitive issues in the society.
21
Vierke, Clarissa. "Of plants and women: a working edition of two Swahili plant poems." Swahili Forum 14 (2007), S. 27-80, 2007. https://ul.qucosa.de/id/qucosa%3A11504.
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In contrast to the \''classical Islamic tendi\'' where the action as well as the setting is commonly detached from the environmental context of the Swahili coast, the Liyongo poems show an abundance of detailed descriptions and enumerative reviews of material items crucial and characteristic of the particular East African shares of Swahili culture. Frequently reference is also made to the natural environment as plants and their fruits play a prominent role as requisits of both the Swahili natural and cultural setting. Apart from being exploited as central requisite and being referred to as material source in the poems, plants are also extensively used for similes. The Liyongo poems are full of culturally metaphors which are context-dependent and sometimes render the text rather obscure.
Without denying that there is, of course, also contemporary poetry employing plants as subject matter or metaphors, in this article I focus on two thematically close poems which we vaguely have to classify as \"old\" while not being able to give exact dates. Although the article suggests to be a thematic view on Swahili poetry, it is primarily a text edition of two poems, the \"Song of the Mjemje\" and the \"Shairi la Mtambuu\", which are both presented together with a critical apparatus.
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Saavedra, Casco JoseÌ Arturo. "Swahili poetry as a historical source : utenzi, war poems and the German conquest of East Africa, 1888-1910." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289839.
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Saavedra, Casco José Arturo. "Swahili poetry as a historical source utenzi, war poems, and the german conquest of East Africa, 1888-1910 /." Online version, 2002. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.289839.
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Acquaviva, Graziella. "Janzanda ya njozi katika baadhi ya mashairi ya Euphrase Kezilahabi." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94936.
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This article is based upon the following concept: Poetry is a chain of representation of the sub-conscience that is the creative source. We can read the poetic text in many ways, but if we imagine the text as the stage of images, we can understand the fundamental abstraction of the conscience. In this sense, oneiric images in some of Euphrase Kezilahabi’s poems will be analysed by using insights from psychoanalytic theory.
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Bertoncini, Elena. "Code-switching in an `Utendi´?" Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-92657.
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In old Swahili tendi and homiletic poems about 50% of vocabulary is of Arabic origin (Bertoncini 1973), and besides single words, they include noun phrases or even whole Arabic sentences. In order to prove my point, I will discuss some verses taken from the Utendi wa Shujaka by one Hasan bin Ali from Lamu. The only extant manuscript of this epic poem in 295 stanzas was brought to Germany in 1854 by Ludwig Krapf and is kept in the Library of the Orientalistic Society in Halle. The poem is written in the Lamu dialect with many archaic features, like the incomplete palatalization of KI, the demonstratives in S- and others. But what is striking is the great amount of Arabic phrases and whole sentences, to the extent that we may perhaps speak of a case of code-switching. In fact, several verses of the poem cannot be understood properly without some knowledge of the main features of Arabic grammar, such as verb conjugation (both perfective and imperfective), verb forms (or classes), active and passive participles, noun inflection (masculine and feminine, broken plurals, construct state), personal, relative and possessive pronouns, prepositions and their combination with enclitic pronouns, numerals, conjunctions and particles, as well as word order.
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Aiello, Traorè Flavia. "Life and Poems of Bi Zainab Himid (1920-2002) – in Swahili with English Translation. Maisha na Tungo za Bi zainab Himid (1920-2002) – kwa Kiswahili na tafsiri yake kwa Kiingereza. Ed. by Sauda Barwani and Ludwig Gerhardt. Köln: Rüdiger Köppe Verlag, 2012, 331 pp, 2 b/w photos, 8 facsimile reproductions, hardcover, size 18 x 26 cm, ISBN 978-3-89645-286-3." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-162784.
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Talento, Serena. "Of Presences/Absences, Identity and Power: the Ideological Role of Translation into Swahili during Late Pre-Colonial and Early Colonial Times." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-137488.
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This paper results from an investigation of translation activities in Swahili literature during late pre-colonial and early colonial times. In detail, the paper addresses questions on how, for some specific groups, the choice to translate from particular languages and cultures – or even the choice to not translate at all – was related both to practices of accumulation of prestige and power and to practices of identity construction. Textual analysis, together with the inclusion of cultural-historical facts (contextual analysis), allows a comparison between the nature of literary and extra-literary discourses and therefore uncovers specific patterns underneath translation practices from the 18th until early 20th century. The objective of this study is to emphasise the link between the exercise of power and production of culture, «[…] of which production of translation is part.» (Bassnett & Lefevere 1990: 5), and thus to configure translated literature as playing an active role in Swahili literary and cultural system.
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Garnier, Xavier. "Le poète swahili et sa légende. Le cas de Hemed Abdallah el-Buhry dit «Mzee Kibao»." Universitätsbibliothek Leipzig, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-107420.
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Hemed Abdallah el-Buhry (1850-1928), known as Mzee Kibao and coming from a prestigious family of poets from Tanga, can be considered as the inventor of a new relation between poetry and reputation in the context of the German conquest of Tanganyika. The aim of this paper is to analyse how the ap¬parently anti-epic attitude of ‘reputation through non-action’ is the main narrative device of Hemed’s tenzi. This poetry of ‘prevented actions’ can be considered as an important turn in Swahili poetry in the new historical context of colonisation.
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Wa, Mutiso Kineene. "Sufii al-Busiri." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-100806.
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Katika makala hii nitazungumzia tarehe na kazi za al-Busiri mshairi wa kisufii maarufu katika fasihi ya kiislamu na ambaye baadhi ya kazi zake zimetarjumiwa kwa Kiswahili. Mojawapo ya kazi hizi ni Kasida ya Hamziyyah, ambayo ni maarufu sana hususa kwa Kiswahili cha zamani kiitwacho Kingozi. Kazi yake ya pili mashuhuri sana ni Kasida ya Burudai, kasida ambayo ndiyo maarufu zaidi katika ulimwengu wa kiislamu. Mshairi huyu ingawa ni mashuhuri, ni mgeni sana kwa wasomi wengi wa fasihi ya Kiswahili.
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Peter, Gikambi Hezekiel. "Omar Babu Marjan ‟Abu Marjan” 14 Julai 1967 – 20 Januari 2015 Kumbukumbu ya kumuenzi mwenzetu marehemu." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220479.
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Frank, P. J. L., and Yahya Ali Omar. "Mashairi ya waadhi `verses of admonition`:." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-95272.
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Aliyetunga kasiga hii, Sheikh Abgallah al-Husni, alikuwa ni mtu maarufu sana Mombasa .. Kwa muda wa myaka arobaini takriban alikuwa akisomesha elimu za gini, msikiti wa Anisa, Mjuwakale; piya alikuwa akitoa waadhi msikiti huu na mahali pengine .. Antunga kasiga mbili za waadhi, moja katika hizo ndiyo hii tuliyoishereheya katika makala haya .. W akati wa kutungwa waadhi huu - 1368 (mwaka 1948 wa milagi) - Mombasa ilikuwa ikali mji wa kiSawahili, yaani mji wa kilsilamu; lakini kulikuwa kuna mabadiliko makubwa yaanza, mabadiliko ambayo mwisho yanaondowa sura za uSawahili katika Mombasa na pwani nzima ya Afrika ya mashariki.
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Frankl, P. J. L., and Yahya Ali Omar. "Shairi la washona-nguo wa mombasa." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94891.
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This lively poem, one of several hundred collected in Mombasa at the end of the nineteenth century by W.E T AYLOR thanks to Mwalimu SIKUJUWA bin ABDALLAH ai-BAIAWI (Frankl, 1993), is preserved in
Volume Ill of the Taylor Papers, now in the library of the School of Oriental & African Studies (SOAS) in London.. lt consists of two versions - both in Arabic script (SOAS MS 47754); the first (Section X, page 4) is probably in the hand of ABDALLAH bin RASHID and has fifteen stanzas, while the second (Section Z, page 161) is in the hand of Mwalimu SIKUJUWA (one of T AYLOR\'s two Swahili teachers) and has twenty-one stanzas .. The entire text of version X is to be found in Z, although not in the same order. Version Z has thus six additional stanzas, and we have had no hesitation in selecting it as the text for this article (the manuscript having been most probably commissioned by TAYLOR).
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H, Samsom Ridder. "‘Hammatbihi wahammabiha’: fasihi ya Kiswahili na kisa cha Yusuf." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-100770.
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The story of Joseph (in the Bible), Yusuf (in the Quran), has inspired literatures in many languages. This paper explores how some Swahili writers and translators have dealt with this inspiration, the implications for their language use and the way they have interpreted Yusuf as a theme for their writings. After a brief introduction on the importance of the story itself and putting the focus on a major theme of the plot, the following works are discussed: the new Quran translation by Sh Ali Muhsin (1995), a short novel by Mzee Salim A. Kibao (1975), two short stories by Amur bin Nasur il-Omeiri (1894), the utenzi Qissat-il Yusuf (l913) and Abdulrazak Gurnah\'s English written novel Paradise (1995). The paper concludes with the observation that in analyzing how these Swahili writers have integrated the story of Yusuf in their writings, prose as well as poetry, it becomes clear that attempts in defining what is ‘foreign’ (or ‘Oriental’) and what is ‘indigenous’ (or ‘African’) are bound to fail.
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Frankl, P. J. L., and Yahya Ali Omar. "Shairi la washona-nguo wa mombasa." Swahili Forum 1 (1994) S. 29-46, 1994. https://ul.qucosa.de/id/qucosa%3A11606.
Full textAbstract:
This lively poem, one of several hundred collected in Mombasa at the end of the nineteenth century by W.E T AYLOR thanks to Mwalimu SIKUJUWA bin ABDALLAH ai-BAIAWI (Frankl, 1993), is preserved in
Volume Ill of the Taylor Papers, now in the library of the School of Oriental & African Studies (SOAS) in London.. lt consists of two versions - both in Arabic script (SOAS MS 47754); the first (Section X, page 4) is probably in the hand of ABDALLAH bin RASHID and has fifteen stanzas, while the second (Section Z, page 161) is in the hand of Mwalimu SIKUJUWA (one of T AYLOR\''s two Swahili teachers) and has twenty-one stanzas .. The entire text of version X is to be found in Z, although not in the same order. Version Z has thus six additional stanzas, and we have had no hesitation in selecting it as the text for this article (the manuscript having been most probably commissioned by TAYLOR).
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Frank, P. J. L., and Yahya Ali Omar. "Mashairi ya waadhi `verses of admonition`:." Swahili Forum; 2 (1995), S. 138-157, 1995. https://ul.qucosa.de/id/qucosa%3A11623.
Full textAbstract:
Aliyetunga kasiga hii, Sheikh Abgallah al-Husni, alikuwa ni mtu maarufu sana Mombasa .. Kwa muda wa myaka arobaini takriban alikuwa akisomesha elimu za gini, msikiti wa Anisa, Mjuwakale; piya alikuwa akitoa waadhi msikiti huu na mahali pengine .. Antunga kasiga mbili za waadhi, moja katika hizo ndiyo hii tuliyoishereheya katika makala haya .. W akati wa kutungwa waadhi huu - 1368 (mwaka 1948 wa milagi) - Mombasa ilikuwa ikali mji wa kiSawahili, yaani mji wa kilsilamu; lakini kulikuwa kuna mabadiliko makubwa yaanza, mabadiliko ambayo mwisho yanaondowa sura za uSawahili katika Mombasa na pwani nzima ya Afrika ya mashariki.
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wa, Mutiso Kineene. "Al-Busiri and Muhammad Mshela: two great Sufi poets." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91016.
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In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular
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wa, Mutiso Kineene. "Al-Busiri and Muhammad Mshela: two great Sufi poets." Swahili Forum 11 (2004) S. 83-90, 2004. https://ul.qucosa.de/id/qucosa%3A11491.
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In this paper I give biographical sketches of a thirteen century Egyptian poet, best known as al- Busiri, the original composer of Kasidatul Burdah in Arabic and the Swahili translator of the said epic best known as Sheikh Muhammad Mshela, from Shela in Lamu, Kenya. Kasidatul Burdah (The Mantle Ode) or Kasida ya Burudai, in Swahili, is the most famous qasida in the Muslim world. I transcribed this qasida from Arabic to Roman script and analysed it (wa Mutiso 1996). My intention is to show how these poets share the same world view concerning Sufism and Islamic culture in particular
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Gaudioso, Roberto. "To the eternal presence of poetry, to Euphrase Kezilahabi." 2020. https://ul.qucosa.de/id/qucosa%3A72133.
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Euphrase Kezilahabi, outstanding Swahili writer, thinker and scholar who was born on 13 April, 1944, passed away on 9 January, 2020. In this obituary, Roberto Gaudioso pays homage to his path-breaking achievements in Swahili creative literature by highlighting his poetry which Gaudioso has studied in depth. He emphasizes that the late Kezilahabi’s contribution as an intellectual and a poet goes beyond limits of space and time, as is shown by generations of researchers and translators who have been working on him.
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Arnold, Koenings Nathalie. "Seeing the World with Zanzibari Poet Nassor Hilal Kharusi." 2018. https://ul.qucosa.de/id/qucosa%3A35335.
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Gromov, Mikhail. "Blowing the Summoning Horn: Euphrase Kezilahabi, Kithaka wa Mberia and Self-translation in Modern Swahili Poetry." 2018. https://ul.qucosa.de/id/qucosa%3A35328.
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This article compares two cases of poetic self-translation in two different periods in the development of modern Swahili literature – Euphrase Kezilahabi in Tanzania of the 1970s and Kithaka wa Mberia in Kenya of the 2000s. These writers represent two different literary situations and two different statuses that Swahili literature had achieved in the respective periods. The main argument in the article is that the two writers in their works seem to have a similar aim – to familiarise wider audiences on the national level with elitist poetic forms. The differences in both cases are determined by the specific socio-cultural context.
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Aiello, Flavia. "Swahili Literature into Italian: The Challenge of Translating Abdilatif Abdalla's Poems." 2018. https://ul.qucosa.de/id/qucosa%3A35324.
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Telento, Serena. "Ushairi na uhuru. Poesie scelte di Abdilatif Abdalla e Euphrase Kezilahabi. Mkusanyo wa tungo za Abdilatif Abdalla e Euphrase Kezilahabi. Curatori e traduttori. Wahariri na wafasiri Flavia Aiello e Roberto Gaudioso. Napoli, 2017: Review." 2017. https://ul.qucosa.de/id/qucosa%3A32899.
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This book constitutes a precious resource for scholars interested in Swahili poetry, literary translation and comparative literature. In my view, two fundamental sources of potential arise from the volume. Firstly, even if its release as an academic publication would probably mean distribution on a small scale, the translation of these creative writings into Italian contribute to enhancing the visibility and presence of Swahili literature in the international literary market. Secondly, the publication of the translation into Italian might be an important factor in promoting exchange between the fields of Swahili literature and the comparative criticism of African-language literatures in Italy.
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Aiello, Flavia. "Review: Roberto Gaudioso. The Voice of the Text and its Body. The Continuous Reform of Euphrase Kezilahabi’s Poetics. Rüdiger Köppe Verlag, Köln 2019. 306 pp. ISBN 978-3-89645-739-4." 2020. https://ul.qucosa.de/id/qucosa%3A72139.
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In her review, Flavia Aiello states that Roberto Gaudioso’s monograph, his PhD thesis written under the co-tutelle of the University of Naples “L’Orientale” and the University of Bayreuth, is a robust study of Euphrase Kezilahabi’s dynamic “thinking poetry” as expressed in his poetry collections. She emphasizes that due to its well-informed theoretical grounding, original critical approach to Kezilahabi’s poetry and close-reading textual analysis, this book represents valuable reading for literary researchers investigating the works of Euphrase Kezilahabi and for scholars interested in new critical approaches to Swahili poetry.
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Kahigi, Kulikoyela K. "Sitiari katika Kichomi – Uchambuzi wa Mojawapo ya Mbinu za Kifasihi za Euphrase Kezilahabi*." 2020. https://ul.qucosa.de/id/qucosa%3A72136.
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Makala hii inachambua sitiari katika Kichomi, diwani ya kwanza ya marehemu Euphrase Kezilahabi. Mashairi yaliyochunguzwa yanahusika na dhamira tatu za kijumla: maana ya maisha, udhalimu wa kikoloni, na hali ya sasa ya Afrika. Mashairi yanayochambuliwa ni: “Nimechoka”, “Mwamba Ziwani”, “Fungueni Mlango”, na “Kisu Mkononi” (dhamira ya “maana ya maisha”); “Hadithi ya Mzee” (dhamira ya “udhalimu wa kikoloni”); “Afrika na Watu Wake”, “Kumbe”, na “Namagondo” (hali ya sasa ya Afrika). Mashairi haya yako kwenye muundo usiofuata urari wa vina na mizani. Lengo la makala hii si kufanya uchambuzi wa kina bali ni kuonyesha kuwa sitiari ni mbinu ya msingi ya mshairi katika kuwasilisha maana na mtazamo wake katika dhamira kadhaa. Nimeteua mashairi hayo tu ili kudhihirisha mbinu ya kisitiari katika dhamira zilizotajwa. Uchambuzi wa sitiari umezingatia mkabala wa kisemantiki unaotambua vipengele vitatu katika muundo wa sitiari: kifananishi, kitajwa na kiungo (taz. Richards 1936; Leech 1969). Hitimisho muhimu ni kwamba sitiari ni mbinu inayoyawezesha mashairi hayo kuchanuza mawazo na hisia kwa uwazi na athari nzito.This article analyses metaphors in Kichomi, the first collection of poems by the late Euphrase Kezilahabi. The poems analysed deal with the following main themes: the meaning of life, colonial oppression, and the current state of Africa. The poems under discussion are: “Nimechoka” (I Am Tired), “Mwamba Ziwani” (Rock in Lake), “Fungueni Mlango” (Open the Door), na “Kisu Mkononi” (Knife in Hand; theme: meaning of life); “Hadithi ya Mzee” (An Old Man’s Tale) (theme: colonial oppression); “Afrika na Watu Wake” (Africa and Its People), “Kumbe” (That’s Why ), and “Namagondo” (Namagondo; theme: current state of Africa). The structure of these poems does not follow the conventional rules of metre and rhyme. The aim of this article is not a thorough analysis, but to show that metaphor is a fundamental device for the poet to present meaning and his view concerning a variety of themes. I have selected these poems only in order to make the device of metaphor clear concerning the mentioned themes. The analysis proceeds on a semantic approach which recognizes three aspects of metaphor: vehicle, tenor and ground (cf. Richards (1936); Leech (1969:153-56)). An important conclusion is that metaphor is a device which enables the poems to evoke thoughts and feelings in a candid manner and with a deep impact.