Littérature scientifique sur le sujet « Haitian poets »

That childhood should be everywhere at home whatever the circumstances, has been implored by poets. Their powerful voices call on the international community to mobilize to protect the rights of the child. However, there are unfair practices; child domestic work is one of them. These children are called ‘domestic children’, ‘service children’ and les ‘restavèk’. Denounced by humanitarian institutions, child domestic work unfortunately still exists today. This issue has been taken up by writers, thus becoming one of the key themes of literature in French and Creole languages. Our aim is to recall the major role that this literature has played, for more than a century, in raising the awareness of a very large readership on the harmful effects of this practice on children and adolescents. This study will focus on two authors and their works talking about this phenomenon in the context of Haiti, Justin Lhérisson (late 19th and early 20th centuries) with his lodyans Zoune chez sa ninnaine (1906) and Maryse Condé (20th and 21st centuries) with her novel Rêves amers (1987), both closely tied to Haitian culture. While using different literary frameworks, either Creolity in Maryse Condé or Social Realism in Justin Lhérisson, they chose in their fictions to tell about the condition of a child placed in domestic service. Dealing with this phenomenon is also talking about the quest for identity in Haitian literature, which at the beginning a literature of imitation. The expression of J. Lhérisson proves that this literature has become autonomous and that it represents its culture and its society. Because of the originality and the impact exerted, his work deserves to be remembered as part of the universal cultural heritage. M. Condé pleads for freedom of expression, literary cosmopolitanism, universal values, refusing any classification within the borders of a single country or a single language. Thus, the Haitian social realism represented in the expression of these two authors of the Caribbean space brings Creole literature closer to word literature.

The Secret Memory. How the Goncourt 2021, Mohamed Mbougar Sarr, Rewrites the Story of the “Black Rimbaud”. In a mixture of “savage detective story” à la Bolaño, of diary, journalism, interviews and discussions on “plagiarism,” the revolutionary book of Mohamed Mbougar Sarr rewrites the history of Western relations to Africa, to its cultures and its storytelling, but also to different forms of marginality, since its main character, Elimane Madag, is also travelling to South America, being part of its most interesting intellectual circles – through, for instance, Sábato, Gombrowicz, Silvina and Victoria Ocampo. Through voices of Senegalese, Haitian, Argentinian writers and poets, through an apocryphal rewriting of the literary history of the twentieth century, through subverting the theory of plagiarism (since African myths are reinterpreted and melted in the Western culture, similar to African artefacts after the expedition Dakar-Djibouti), as well as through detective journalism (since many characters are interrogating the relation facts-fiction), the marginal and the minor are presented as an alternative, disruptive literary history of the twentieth and of the beginning of the twenty-first century. Keywords: marginality, minor, African myths, Western culture, plagiarism

O objetivo deste artigo foi investigar em Diário de um retorno ao país natal (2012), poema fundamental do poeta martiniquenho Aimé Césaire, a configuração das paisagens afrodiaspóricas. O longo poema, escrito em estilo livre, é um dos marcos do movimento político, estético, cultural e ideológico da negritude, lançado em Paris, na década de 1930, mas que aglutina em seu bojo diversas manifestações culturais da Diáspora Negra, tais como o Renascimento Harlem, surgido nos Estados Unidos, nos anos de 1920, o indigenismo da literatura Haitiana, da mesma década, e o negrismo cubano dos anos de 1930.

A resenha crítica analisa o documentário “Eu não sou seu negro”, que possui direção do cineasta haitiano Raoul Peck. A produção se debruça sobre um projeto inacabado do romancista, ensaísta, dramaturgo, poeta e crítico social estadunidense James Baldwin. A narrativa possui uma montagem cinematográfica em capítulos e três níveis, são eles: a escrita de Lembrem- se desta casa (livro que inspira o roteiro do documentário apresentado através de narrador Over), o engajamento de Baldwin para além de suas obras, em falas publicas, e o contexto atual como materialização do diagnostico dado pelo crítico.

Abstract: This article considers the timing of the Académie d'Amiens poetry contest on "L'Abolition de la traite des Nègres" (1819–20), the little-known predecessor to the Académie française prix de poésie on "L'Abolition de la traite des Noirs" (1823). The Amiens concours attempted to offer a timely commemoration of the slave trade's abolition. Close readings of the competition's archival records, including twelve submitted poems and two reports, suggest reasons why a winner was never chosen. The persistence of the clandestine slave trade and pro-slavery arguments blaming abolitionism for the recent events of the Haitian Revolution challenged the possibility and value of the proposed commemoration. The Amiens contest ultimately bears witness to a shift in contemporary perceptions of the slave trade's abolition during the Bourbon Restoration: from the celebration of an event to the realization that its history was far from over.

La narrativa de Marie Vieux-Chauvet en Amour, Colère et folie presenta una polifonía de voces que reflejan las luchas y desafíos enfrentados por los personajes en medio de la dictadura de François Duvalier. Este fenómeno narrativo no solo enriquece la textura de la obra, sino que también ofrece un análisis profundo de las complejidades sociales y políticas del país bajo el yugo autoritario. Las diferentes perspectivas narrativas revelan no solo los dilemas individuales de los protagonistas, sino también la complejidad de las relaciones sociales y políticas en la sociedad haitiana.La estructura narrativa propuesta por Vieux-Chauvet permite una exploración multifacética de las voces de los personajes, destacando sus luchas individuales por la libertad, la justicia y la dignidad en medio de la adversidad. En "Amour", la voz de Claire Clamont resuena a través de las páginas de su diario íntimo, revelando reflexiones profundas sobre el papel de las mujeres en la sociedad y la tensión entre la conformidad y la rebelión. En "Cólera", las voces de Paul y Rose Normil emergen en medio de la crisis familiar y la opresión militar, reflejando la impotencia y la desesperanza frente a un sistema de opresión implacable. Por último, en "Locura", la narrativa adopta una forma teatral, ofreciendo una visión multifacética de un poeta frente a la violencia de los soldados militares.La obra de Vieux-Chauvet no solo nos invita a reflexionar sobre el pasado de Haití, sino que también plantea cuestiones universales de poder, resistencia e identidad. Su uso de la polifonía narrativa nos permite sumergirnos en las profundidades de la experiencia haitiana bajo la dictadura, revelando las interconexiones y contradicciones dentro de la sociedad. Este estudio, inserto en un contexto más amplio de investigación sobre la escritura de las mujeres en el Caribe, busca contribuir al reconocimiento y la valoración de una autora cuya obra ha sido ignorada por la academia, pero cuyo legado es de una importancia indiscutible para la comprensión de la historia y la cultura haitianas.

<p><strong>Resumen</strong></p><p>La escritora mejicana Rosario Castellanos (1925-1974) ansiaba otro modo de ser mujer y libre en la sociedad en la que le tocó vivir, convirtiéndose este deseo en el <em>leitmotiv</em> de su obra. En cuanto al amor, se dice que Castellanos estaba convencida de que no podría vivir sin que su marido la amara tanto como ella a él, tal y como ella misma parece indicar en <em>Cartas a Ricardo</em> (1994). La autora concluye uno de sus poemas más conocidos, “Meditación en el umbral”, con versos que incitan a la búsqueda de otros modos de ser, siendo mi propósito el de redireccionar ese registro a otros modos de amar. Para ello recurriré a la teoría postestructural de Luce Irigaray, quien hace que nos cuestionemos, al igual que hiciera Castellanos, nuestra identidad, pero que, a diferencia de la escritora mejicana, huye de buscar una respuesta definitoria y, en lo referente al amor, profundiza en la búsqueda de una cultura que modifique la condición de las relaciones amorosas. Y es que otros modos de ser y de amar son posibles.</p><p> </p><p><strong>Abstract</strong></p><p>Mexican writer Rosario Castellanos knew that other ways of being a woman and a free subject were possible, and it was this very desire that became the <em>leitmotiv</em> of her work. Regarding love, it has been said that Castellanos was convinced that it was impossible for her to live without the love of her husband, as she seems to underline in <em>Cartas a Ricardo</em> (1994). She concludes one of her well-known poems, “Meditación en el umbral”, with lines that encourage us to claim new ways of being. It is my purpose to redirect this aim towards new ways of loving within a romantic relationship. To do so I will use Luce Irigaray’s poststructuralist theoretical framework on love. This critic makes us question, as Castellanos did, our identity, but differs from the Mexican writer in trying to find an answer and, regarding love, deeply encourages us to deconstruct a culture which should modify romantic relationship stereotypes, since other ways of being and loving are possible.</p><br /><div id="SLG_balloon_obj" style="display: block;"><div id="SLG_button" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png'); display: none; opacity: 1;"> </div><div id="SLG_shadow_translation_result2" style="display: none;"> </div><div id="SLG_shadow_translator" style="display: none;"><div id="SLG_planshet" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg2.png') #f4f5f5;"><div id="SLG_arrow_up" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/up.png');"> </div><div id="SLG_providers" style="visibility: 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La editorial Casa de las Américas publicará en septiembre del 2017, la antología de poesía haitiana Ayiti Cheri. Poesía haitiana (1800-2015), tres siglos de canto a la Libertad.Un proyecto innovador que reúne a 70 poetisas y poetas haitianos, y 170 poemas en francés o creol, traducidos al español

ohn C. (Clinton) Rigdon received his Post High School Education at Bob Jones University -Greenville, SC. He majored in Electronics Engineering and Accounting, with a minor in English. He has authored approximately 1200 titles on the American Civil War, American History, and Genealogy, and approximately 400 of which are now available on Amazon. His first published book was “The Boys of the Fifth”, a regimental history of the Georgia 5th Infantry Regiment published in 1996. For we know how tremendous e-tools are today in both the translation process and in debates related to Translation Aid; as a lexicographer, he is also author of an additional 35 language titles including Dictionaries, phrasebooks, and literacy books in various languages with a special interest in the Haitian Creole. He started working on a Haitian Creole dictionary along with several other experts in the field of Haitian Creole and linguistics and published his first Creole title “Aprann Pale Kreyòl” (Learn to Speak Creole) in 2005. This was followed with a collection of short stories in Creole and English which were the result of a creative writing contest. He solicited Haitian speakers to submit their stories and poems which he, along with others, translated into English and published as “Kreyòl Woyloyloy”(Creole Wow! O Wow!).

En raison de circonstances historiques et sociales difficiles, la littérature haïtienne s'est enfermée pendant environ un siècle dans le patriotisme et le nationalisme. Rejet de l'indépendance par les nations occidentales, affaires judiciaires et diplomatiques louches, instabilités politiques et sociales ont marqué tout le XIXe siècle haïtien. A la fin du siècle, une nouvelle génération d'écrivains a opté pour la rénovation en proscrivant la matière nationale, notamment la veine nationaliste, et s'est tournée vers l'universalisme. Il s'en est suivi un remaniement de la pensée ou de la vision haïtienne dont les répercussions se feront ressentir même dans les relations internationales avec les nations autrefois vues de très mauvais oeil. Haïti cherche, et Etzer Vilaire notamment s'y attachera avec une inépuisable énergie, ses racines latines au rejet et parfois au refus même de ses racines africaines
Haitian literature locked itself for almost a century in patriotism and nationalism for socio-historical reasons. The rejection of her independence by the West, questionable judicial and diplomatic transactions, social and political instabilities all characterized 19th century Haiti. At the end of the 19th century a new generation of writers opted for reinvention, advocating a shift from national affairs, most especially the nationalist trend. They turned towards universalism. Consequently, a total reshuffle of Haitian thinking and vision followed and the repercussions of this will be felt in areas of international relations with nations which at one point were not considered friends. Haiti in search of her roots, as Etzer Vilaire specifically clings on to the Latin roots while rejecting and at times denying its African roots

Although many in the contemporary academic world would avoid themes such as solitude, love, and, in the context of “francophone” literature, exile, I have decided to give these all the attention they deserve based on the importance they hold in the works themselves, and based on the depth they possess. It is thus from the perspective of the renewed light they bring on these topics that the following three works will be analysed: À vol d’ombre (1966) by Jacqueline Beaugé, Transparence en bleu d’oubli (1979) by Renée Marie-Ange Jolicœur, and La Fidélité non plus… (1986) by Yanick Jean. In order to contextualize these three works, I first provide a brief history of Haitian poetry in which particular attention is given to the contributions of women writers. This overview illustrates how Jean, Jolicœur and Beaugé use very general themes such as love and solitude, but also how they manage to set themselves apart. Indeed, their works are unparalleled in Haitian literature because they constantly play with the conventions of love poetry and redefine the notion of absence. In order to establish how every absence contains traces of presence, my analysis bases itself in part on the theories of Derrida. I also explore how, in each of the collections of poems under consideration (although for different reasons), absence stifles any possibility of contact with the other. In order to understand this problem and underscore its importance, I refer to Hegel’s conception of the relationship to the other. Based on these premises, I conclude by showing how exile is a space that is at once filled with absence and with presence, and how the staging of the act of writing, in all three works, makes poetry and absence inseparable.
Thesis (Master, French) -- Queen's University, 2008-09-26 15:50:00.063

This chapter explores revolutionary metaphors of the wind and weather in poems by William Wordsworth and Percy Bysshe Shelley. Two very different historical situations organize this chapter: the forced extraction and imprisonment of the Haitian leader Toussaint Louverture by the French in 1802, and the public outcry following the Peterloo Massacre in 1819. My readings of Wordsworth’s sonnet “To Toussaint L’Ouverture” (1802) and Shelley’s Mask of Anarchy (1832) reveal that, although border-crossing affects represent a condition of political possibility for both poets, there remains an irresolvable tension between such optimism and the ethics of charging those who are most vulnerable with bearing to be moved to insurrection and violence.

Abstract The chapter explores the way sound is a key marker of Caribbean being. It analyzes poetry of the region, beginning with the early nineteenth century works anthologized in Poetry of Haitian Independence, a bilingual volume that gathers many forgotten and neglected poems written between 1804 and the late 1840s. The chapter explores the various ways in which sounds are used by the poets as the new nation sought to assert itself on its own terms and create a sense of unity and common purpose in a land torn apart by a long period of war and by the legacies of colonialism and slavery. By reading and listening to the poems in this way, the reader gains a sense of the importance of sounds to the written form, and by extension to the broader culture, in ways that confirm that sound was a vital element in forming early Caribbean subjectivities.

The French term engagement is generally understood to mean politically committed or involved. Many writers from the Caribbean can be considered to write littérature engagée, including Aimé Césaire (Martinique), who occupied the dual roles of poet and politician throughout his long life, and Edouard Glissant (also from Martinique), who consistently remarked upon the inextricability of poetry and politics. This chapter focuses on lesser-known Haitian poetry, and a writer whose work beautifully encapsulates the power of literary engagement. Rodney Saint-Eloi (b. 1963) is a distinguished Haitian poet and writer as well as the founder of the publishing houses Les Editions Mémoire in Port-au-Prince in 1991 and Mémoire d’encrier in Montreal, Canada, in 2003. Through a study of Saint-Eloi’s recent texts—including Haïti kenbe la (2010), the jointly edited Refonder Haïti? (2010) and Passion Haïti (2016)—this study provides insight into how to teach the politically involved and poetic nature of one of Haiti’s important writers.

This chapter considers Haitian communist poet Jacques Roumain and his reception in the United States. Analyzing the production, circulation, and reception of Roumain’s writings and his authorial persona, the chapter explores several connected variants of a communist internationalism that is imagined through the idea of “lyric,” or “lyricism,” and it demonstrates how such international imaginaries are tied to different conceptions of history. The chapter begins by sketching the import of Roumain as a figure for U.S. radicals. It then turns to Roumain’s friendship with Langston Hughes, showing how the exchange of poems between the two allows critics to move beyond straightforward historical accounts that show how radical African American artists and intellectuals referred to Haiti’s revolutionary past in their protests against Jim Crow policies, colonial occupations, and the rise of fascism in Europe. I argue that Roumain and Hughes harness and experiment with the unique temporality of the poetic lyric in order to present black radicalism as a formation unbounded by spatial and temporal borders. The final sections turn to the prose and poetry Roumain composed during his exile in the United States, using it to rearticulate ideas about the relationship of the poetic lyric to historical praxis.

This chapter examines the forms of classicism that proliferate in the writings of the Martinican poet-politician Aimé Césaire (1913–2008), focusing in particular on his 1963 drama The Tragedy of King Christopher. The classical form of tragedy, mediated through Nietzsche, provides Césaire with a way of reconsidering the reverberations of the Haitian revolution throughout the black Atlantic as a foundational event of black identity. Césaire uses tragedy to dramatize the story of Henri Christophe, the creator of a monarchy in the northern part of Haiti in the early nineteenth century, as a way of instructing his audience on the urgent issue of black political organization in the mid-twentieth century.

Chapter 4 places the much debated desire for the vernacular in Wordsworth’s early poetics—or the infamous “real language of men”—in the context of a dissolution of linguistic categories under way in British radicalism of the 1790s. It recounts the stir caused by John Horne Tooke’s immensely influential etymologies in The Diversions of Purley (1786/1812), which grafted political radicalism onto linguistic roots. This philological lens leads to new insights into the grayer undertones of Wordsworth’s so-called “green language.” The chapter culminates in a reading of “Hart-Leap Well,” building on scholarship that shows how native antiquarianism drew on a broader colonial imaginary. The chapter closes by suggesting that the idea of freedom grounding Wordsworth’s ambivalent radicalism is clarified by contrasting approaches to Haiti and history in the sonnet “To Toussaint L’Ouverture” and in a contemporaneous ode to liberty by the Haitian poet Antoine Dupré.

This chapter focuses on the ambivalent nationalism evident in the celebration of the first national Dominican poet, Salomé Ureña (1850-1897). Studying poems, letters, speeches, and essays by Ureña and some of her contemporaries, the chapter contends that the strong desire for Ureña’s poetry coexisted with the elite’s generalized assumption that the ideal citizen subject was a white man. It argues that Ureña’s embodiment of Dominican nonwhiteness combined with her status as a respectable woman allowed Dominicans of the intellectual and ruling elite to satisfy two intertwined impulses: to construct a national identity that could explain Dominican difference from Haiti, and, as such, justify a seat at the global table; and a tacit acceptance that a nonwhite woman such as Ureña could only be considered “the muse of the nation” because Dominican territory had a history of black freedom and leadership.