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This book contains a major research into, and deep investigation of Basotho language oral poetry in Lesotho at the beginning of the twenty-first century. The classical form, the dithoko, which was inspired by tribal wars or battles fought by the Basotho, is explored fully, but the absence of wars, and urbanisation with the economic and social imperatives of modernism, have inspired new forms of poetry. The new forms include dithoko, i.e. 'praise poetry'; the difela, 'mine workers' chants', and the diboko, the latter which as 'family odes', are still performed in rural areas. The research work involved the live performances of 33 diroki, i.e. poets, watched and recorded in their natural environments. The investigators were led by the late Professor Abiola Irele, then of Ohio State University.
A major new history of the literary traditions, oral and print, of African-descended peoples in the United States.
Reconceptualizing the epic genre and opening it up to a world of storytelling, The Epic World makes a timely and bold intervention toward understanding the human propensity to aestheticize and normalize mass deployments of power and violence. The collection broadly considers three kinds of epic literature: conventional celebratory tales of conquest that glorify heroism, especially male heroism; anti-epics or stories of conquest from the perspectives of the dispossessed, the oppressed, the despised, and the murdered; and heroic stories utilized for imperialist or nationalist purposes. The Epic World illustrates global patterns of epic storytelling, such as the durability of stories tied to religious traditions and/or to peoples who have largely "stayed put"; the tendency to reimagine and retell stories in new ways over centuries; and the imbrication of epic storytelling and forms of colonialism and imperialism, especially those perpetuated and glorified by Euro-Americans over the past 500 years, resulting in unspeakable and immeasurable harms to humans, other living beings, and the planet Earth. The Epic World is a go-to volume for anyone interested in epic literature in a global framework. Engaging with powerful stories and ways of knowing beyond those of the predominantly white Global North, this field-shifting volume exposes the false premises of "Western civilization" and "Classics," and brings new questions and perspectives to epic studies.
The Poetry of K.E. Ntsane describes and evaluates the poetry of K.E. Ntsane. Human nature, biblical stories, the judgement day and death feature prominently.
Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.
Covers the literatures of Algeria, Angola, Benin, Botswana, Cameroon, Cape Verde, Congo, Egypt, Ethiopia, Gambia, Ghana, Guinea-Bissau, Guinea, Ivory Coast, Kenya, Lesotho, Liberia, Malagasy, Malawi, Mali, Mauritia, Morocco, Mozambique, Nigeria, Reunion, Sao Tome, Senegal, Sierra Leone, Somalia, South Africa, Sudan, Tanzania, Togo, Uganda, Upper Volta, Zaire, Zambia, and Zimbabwe, and authors such as Mohammed Dib, Mouloud Feraoun, Kateb Yacine, Mouloud Mammeri, Jose Luandino Vieira, Mongo Beti, Ferdinand Oyono, Tawfiq al-Hakim, Taha Husayn, Yusuf Idris, Najib Mahfuz, Lenrie Peters, Ayi Kwei Armah, Kofi Awoonor, Camara Laye, Bernard Binlin Dadie, Ngugi wa Thiong'o, Thomas Mofolo, Chinua Achebe, John Pepper Clark, Cyprian Ekwensi, Gabriel Okara, Christopher Okigbo, Wole Soyinka, Amos Tutuola, Birago Diop, Ousmane Sembene, Leopold Sedar Senghor, Nuruddin Farah, Peter Abrahams, Dennis Brutus, Roy Campbell, Athol Fugard, Nadine Gordimer, Alex La Guma, Sarah Gertrude Millin, Ezekiel (Es'kia) Mphalele, Alan Paton, William Plomer, Olive Schreiner, Pauline Smith, Shaaban Robert and Okot p'Bitek.
Chaka is a genuine masterpiece that represents one of the earliest major contributions of black Africa to the corpus of modern world literature. Mofolos fictionalized life-story account of Chaka (Shaka), translated from Sesotho by D. P. Kunene, begins with the future Zulu kings birth followed by the unwarranted taunts and abuse he receives during childhood and adolescence. The author manipulates events leading to Chakas status of great Zulu warrior, conqueror, and king to emphasize classic tragedys psychological themes of ambition and power, cruelty, and ultimate ruin. Mofolos clever nods to the supernatural add symbolic value. Kunenes fine translation renders the dramatic and tragic tensions in Mofolos tale palpable as the richness of the authors own culture is revealed. A substantial introduction by the translator provides valuable context for modern readers.
From an array of prominent activists including Nelson Mandela and Steve Biko to renowned performers and oral poets such as Johnny Dyani and Samuel Mqhayi, the Eastern Cape region plays a unique role in the history of South African protest politics and creativity. The Spirit of Resistance in Music and Spoken Word of South Africa's Eastern Cape concentrates on the Eastern Cape's contribution to the larger narrative of the connection between creativity, mass movements, and the forging of a modern African identity and focuses largely on the amaXhosa population. Lindsay Michie explores Eastern Cape performance artists, activists, organizations, and movements that used inventive and historical means to raise awareness of their plight and brought pressure to bear on the authorities and systems that caused it, all the while exhibiting the depth, originality, and inspiration of their culture.
"Global anthology of twentieth-century poetry"--Back cover.