Protest Poetry Research Articles

Poems from With an Iron Pen: Hebrew Protest Poetry 1984-2004

Poems from With an Iron Pen: Hebrew Protest Poetry 1984-2004

The Echo of Tlatelolco in Contemporary Mexican Protest Poetry

The shooting of a student demonstration in La Plaza de las Tres Culturas in the Tlatelolco district of Mexico City on 2 October 1968 has been the subject of many literary works, among which the Tlatelolco poetry addresses not only the event itself but also the aftermath of the massacre. Both approaches examine the relationship between the ‘yo’/‘nosotros’ and ‘ellos’ constructs, focusing on the ‘nosotros’ construct as the result of this interaction. The following analysis of this process is based on the theory of self and Other, especially Rene Girard's theory of the mimetics of violence and the process of scapegoating as a basis for the relationship between the individual and society within the context of a violent conflict.

Protest Poetry in Retrospect

Journal of American CultureVolume 16, Issue 3 p. 80-80 Protest Poetry in Retrospect First published: September 1993 https://doi.org/10.1111/j.1542-734X.1993.00080.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume16, Issue3September 1993Pages 80-80 RelatedInformation

Agostinho Neto: Pure Poetic Discourse and Mobilization Rhetoric

Neto's importance in relationship to the modern genre we will call militant or guerilla poetry and his considerable poetic gifts as well call for a mainstreaming of his literary contributions. "Protest poetry" might more aptly describe his oeuvre; the term is certainly a somewhat better representation of his content than "guerilla poetry" or "poetry of combat." But whatever word is used to sum up that content, in the article on Neto one sees contextually how this talented poet fuses his ideologies with his structures, and intertextually how he avoids the diatribes, the invective and the stereotypically strident rhetoric of most guerilla poetry in a way scarcely imitated by his poetic "counterparts." Selected details of his biography are also highlighted as they bear upon his poetry; e.g. his physician's regard which is at stake in certain passages of "Kinaxixi" and "Um aniversário."

Literature as interaction: Readers and “non-readers” in first world war propagandist poetry

First World War propagandist poetry serves as a useful example of interaction between writer and reader and between text and context. Two kinds of propagandist poetry were current in the war, the one attempting to generate support for the country's cause, the other inviting condemnation of the fighting. Patriotic poetry, the intensely homogeneous work of a very large number of writers, was published widely and in great quantities. The populist nature of its composition and reception is echoed in many textual devices and in the almost invariable “we” persona. Protest poetry, attacking the perpetrators of the “lies” which promote war, appeared mostly in small-circulation newspapers and magazines, and textual features support this empirical evidence that it was intended for a small and exclusive group. These two kinds of propagandist poetry have in common a spokesman persona (though protest poets usually speak as “I” rather than “we”), a rhetorical style, and a strong sense of animosity towards the enemy, the excluded “non-reader”.