Resistance Poetry Research Articles

Жіночі голоси протесту: поезія Соні Санчес і Ніккі Джованні

The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.

Witnessing: Resistance Poetry

Witnessing: Resistance Poetry

Poetry Of Social Resistance In Modern Australian Aboriginal Poetry:, A Study In Selected Poems Of Oodgeroo Noonuccal

Poetry Of Social Resistance In Modern Australian Aboriginal Poetry:, A Study In Selected Poems Of Oodgeroo Noonuccal

How the Truth Dies

How the Truth Dies Jane Rosenberg LaForge (bio) Fake News Poems Martin Ott BlazeVOX Books www.blazevox.org/index.php/home/ 66 Pages; Print, $16.00 In his first two weeks in office, President Donald Trump likened the Central Intelligence Agency to Nazis and opened a speech at the CIA's sacred memorial wall of fallen agents with self-congratulations on his election. He fought with his press secretary and the media over crowd estimates for his poorly attended inauguration. He hung up on a telephone call with the Australian prime minister over a preexisting, "disgusting" agreement the US had to receive 1,250 refugees. And we haven't even gotten to the Muslim Ban. It is not impossible to keep track of the daily desecration of the country's norms and values this administration is determined to execute. But it is exhausting. If there's anything positive to be sowed from the pandemonium wrought by Trump and company, it might be the proliferation of venues for resistance, or opposition poetry, that have emerged to help civilians separate the worst from the horrible, and the shocking from the audacious. Martin Ott's Fake News Poems rises out of this fledgling tradition and sets an example few poets will match. His work speaks not only to the struggle against an amoral if not compromised White House but also to the mechanics of language, image, and spiritual belief that fuel the current rebellion. Ott's method is simple. He has selected a headline from each week of 2017 from either the Internet or printed media and used them for inspiration. Ott's results are unlike a great deal of resistance poetry, which tends to be literal, in the sense that its impetus is clear, practical, and rooted in the news cycle. That Ott's poems stray from this formula is not only due to his eclectic choice in headlines, but also in how he mines apolitical events for commentary on all the ways we live now. In "Nobody Knows Why Thousands of Skittles Were on Their Way to Feed Wisconsin Cows" (from The Grub Street column in New York magazine, January 23), Ott makes use of pop culture and political rhetoric to demonstrate the multiplicity of meanings available in a single word or image. Yes, thousands of Skittles candies spilled onto a Midwestern highway, and farmers revealed they were to be mixed into regular cattle feed; it's a way of cutting costs. "The secret to our hamburgers / is now revealed," Ott explains, before coming to the conclusion that we are "an entire nation quivering / like cows shaking for a sugar fix, starving for the rainbow." Are these the same Skittles a seventeen-year-old Trayvon Martin was summarily executed for, as he consumed them while black? Is this the same rainbow of Skittles' advertisements, demonstrating the casual, corporate invasion of our idiom via television commercials? Or is it a rainbow of liberation, since the rainbow is a symbol of the gay rights movement, or of Jesse Jackson's seemingly forgotten Rainbow Coalition? It could well be an old-fashioned, pot-of-gold-atthe-end-of-the rainbow, an optical illusion much like the belief the US is as level a playing field as Midwestern highways are flat. What that rainbow may symbolize is ultimately a matter of belief, for the narrowly held, potentially-niche, very personal beliefs are what support the more disturbing assertions and advances of Trumpism. If something is not true today, perhaps the incessant chatter on the news eco-system will make it true tomorrow. "The difference between life and death / is the same broken line between truth and lies," Ott writes in "Dead Man Lying," taken from a Salon headline of May 13 declaring Trump "one investigation away from impeachment." And yet after an independent counsel investigation into alleged collusion with Russia, and impeachment over soliciting Ukraine to interfere in the 2020 election, the president persists. Ott warns this is nothing new: "History holds the mantras / of liars and recasts them in our history books. / The walking dead has never been about zombies." Yet there is something singularly horrifying about contemporary life when the...

김윤식 시 연구

In his poetry of resistance, Kim Yun-sik attempts to reveal and overcome the contradiction of reality without escaping from the order of nature and the flow of the universe. His poems did not come from projective consciousness but from constant reflection and thought regarding the essence of existence. The poet reflects on things extended from himself to the universe. The poet who pursued harmony with the universe on the earth, had an anger of conscience and could not escape the reality of broken harmony. As a farmer and poet living in sympathy with nature, he wrote his poetry of resistance in the most natural way in response to the sound of justice to the world.BR The poet Kim Yun-sik lived his life close to his hometown. At times, the poet chooses to live as a farmer and remained completely settled in his hometown. For this reason, his use of the space of the hometown is a poetic representation rather than reminding the hometown in memories. He did not write any poem yearning for missed his hometown because he returned home for his studies. Hometowns and hometown villages enter the spaces of daily life. Even though he lived in his hometown, he never stopped revering his hometown.BR The farmer

براہوئی مزاحمتی شاعری: ردوم و پس منظر

Throughout history, revolutions and collective resistance to oppression have found inspiration and expression through poetry. Pithy and powerful, poetry is a popular art form at protests. Poets have directly played their roles in revolutionary struggles, and their poems have always expressed protest against harsh realities as well as dreams of liberty across a wide range of styles and genres. In this article we will go through different times of Brahui poetry of resistance to colonialism, discussing the specific approach takes in its political context.

New Testament Christological Hymns: Exploring Texts, Contexts, and Significance by Matthew E. Gordley

Reviewed by: New Testament Christological Hymns: Exploring Texts, Contexts, and Significance by Matthew E. Gordley Channing L. Crisler matthew e. gordley, New Testament Christological Hymns: Exploring Texts, Contexts, and Significance (Downers Gove, IL: IVP Academic, 2018). Pp. 263. Paper $28. This book is in many ways an atypical examination of the NT’s christological hymns. It neither considers one hymn in splendid isolation from others nor considers one strand of a hymn’s cultural milieu to the exclusion of others nor collapses form-critical concerns with preexisting materials into the examination of the hymns. Instead, Matthew E. Gordley, informed by his previous studies of early Christian hymnody, aims to interpret the hymns and assess their implications for understanding early Christian worship based on how the hymns uniquely reflect ancient hymnody within their own cultural (both Jewish and Roman), literary, and theological contexts. Gordley covers several preliminary matters in chap. 1 such as how hymns fit within early Christian worship, the critical approach taken up in his work, and a response to problems that have typically plagued NT scholarship’s study of hymns. G. pushes back against critics such as Ralph Brucker (“‘Songs,’ ‘Hymns,’ and ‘Encomia,’ in the New Testament?,” in Literature or Liturgy? Early Christian Hymns and Prayers in Their Literary and Liturgical Context in Antiquity [ed. Clemens Leonhard and Hermut Löhr; WUNT 2/363; Tübingen: Mohr Siebeck, 2014] 1–14), Stephen Fowl (Philippians [Two Horizons New Testament Commentary; Grand Rapids: Eerdmans, 2005] 110), and Michael Peppard (“‘Poetry,’ ‘Hymns,’ and ‘Traditional Material’ in New Testament Epistles or How to Do Things with Indentations,” JSNT 30 [2008] 319–42), who question the viability of detecting hymns in the NT, by observing that their criticisms often conflate two separate issues, namely, “the identification of preexisting material and the recognition of hymnic passages” (p. 23). G. chooses instead to examine the hymnic features and structures of the material as they stand in the text with the ultimate purpose of drawing inferences about early Christian worship. The inferences that G. lists in chap 1. and then develops in subsequent parts of the book [End Page 136] underscore the real value of his overall approach which is a commitment to analyzing the hymns based on the interplay of several cultural strands including Jewish, Roman, and early Christians ones. Due to his overarching argument that christological hymns display both continuity and innovation with respect to the wider phenomenon of first-century hymnody, chap. 2 necessarily surveys Greco-Roman hymns associated with various kinds of literature, philosophies, festivals, the imperial cult, rhetorical handbooks, and progymnasmata. G. offers a rich discussion, because he does not merely scour hymnic material to unearth parallel forms and phrases one might find in the NT’s hymns. Instead, he identifies “trajectories” from Greco-Roman hymns that are reflected in the NT. For example, G. observes that Greco-Roman hymns tend to outline poetically the accomplishments of a god with the purpose of authoritatively drawing worshipers into an “experience of the numinous” (p. 59) while at the same time shaping worshipers’ perceptions of the world, even on the political plane. G. suggests that christological hymns follow a similar trajectory, as he attempts to demonstrate in subsequent chapters. G. also surveys psalms and hymns from early Judaism with the hope of providing a “thicker description of the Jewish context” (p. 64) of NT hymns. Wisdom 10 and Psalms of Solomon 17 serve as the main examples. G. describes the latter as Jewish “resistance poetry,” which he suggests is a feature of Jewish psalmody that helped shape communal identity and amounted to a “manifesto of resistance” (p. 75) against Rome. This is a component that G. also detects in the NT hymns that he examines. Gordley’s analysis of the christological hymns begins in earnest with chap. 3, where he examines Phil 2:5–11. He situates his own analysis within “pioneering works” by Ernst Lohmeyer (Die Briefe an die Philipper, an die Kolosser und an Philemon [KEK 9; Göttingen: Vandenhoeck & Ruprecht, 1954]), Ernst Käsemann (“A Critical Analysis of Philippians 2:5–11,” Journal for Theology and the Church 5 [1968] 45–88), and Ralph Martin (A Hymn of Christ: Philippians...

Subversive song: Imagining Colossians 1:15–20 as a social protest hymn in the context of Roman empire

A connection exists between the Christological hymn of praise and protest in Col 1:15–20 and popular protest music. The connection is the lyrical ability to transform political and socio-cultural realities, as well as to empower and mobilize protest and resistance against imperial power and coercive structures of domination. A special focus is on Billie Holiday’s song, “Strange Fruit,” a contemporary model of a protest song in comparison to Col 1:15–20. In the comparison, the Colossians hymn draws upon the political ideology and imagery of the Roman Empire in the form of a counter-discourse, as was Jewish resistance poetry, in ways analogous to how Holiday’s “Strange Fruit” evokes the imagery of white racial terror for the sake of raising political consciousness.

일제강점기 이육사 저항시에 나타난 리미널리티 연구

일제강점기 이육사 저항시에 나타난 리미널리티 연구

Scenery Representation in Poetry of the Palestinian Resistance, a Poem "in Jerusalem" by Tamim Barghouthi _an Artistic Approach_

The Study aims at revealing the features of the scenery representation in the poetry of the Palestinian Resistance. Exactly, the Poem "in Jerusalem" by Tamim Barghouthi. The study starts from the fact that poetry is based on an artistic and dramatic construction which is rich of time, place, music, cinematic, persons and dynamic scenes. All of these are basic components of a scenery representation.
 By analysing the poem "In Jerusalem" by the young refugee poet Tamim Barghouthi we made a modest attempt to pick up some fruits of the scenery representation between the folds of the vocabulary and the compositions that were embodied in this poem.
 

‘If I Speak, They Will Kill Me, to Remain Silent Is to Die’: Poetry of resistance in General Zia's Pakistan (1977–88)

AbstractThe ethnic and sectarian divisions that were part of General Zia's (1977–88) political strategies in Pakistan were resisted not only through street protest and political opposition, but also in the realm of culture. In particular, poetry was a vehicle through which to express discontent as well as to mobilize the population. By offering an analysis of a number of poems and the biographies of the political poets who wrote them, this article offers another perspective on the question of resistance in this period of Pakistan's history. Whilst the outcome of the policy of ethnic division was to divide the struggle against General Zia into a broad anti-Punjab front, this article highlights how it was class division and the securing of elite consent that were the major achievements of the Zia regime. In contrast to previous research, we highlight how resistance came from all groups in Pakistan as reflected in the poetry and literature of the time.

Psalms of Solomon as Resistance Poetry

Psalms of Solomon as Resistance Poetry

Psalms of Solomon as Resistance Poetry

Two trends in recent scholarship provide a new set of lenses that enable contemporary readers to appreciate more fully the contents and genre of Psalms of Solomon. On the one hand, scholars such as Richard Horsley, Anathea Portier-Young, and Adela Yarbro Collins have now explored the ways in which early Jewish writers engaged in a kind of compositional resistance as they grappled with their traditions in light of the realities of oppressive empires. These approaches enable us to consider the extent to which Psalms of Solomon also may embody a kind of resistant counterdiscourse for the community in which it was edited and preserved. On the other hand, scholars within biblical studies (e. g., Hugh Page) and beyond have examined the dynamics of the poetry of resistance. Such poetry has existed in many times, places, and cultures, giving a voice to the oppressed, protecting the memory of victims, and creating a compelling vision of a possible future in which the oppression is overcome. In this article the poetry of Guatemalan poet Julia Esquivel is interwoven with Psalms of Solomon to illustrate these dynamics and to illuminate the kinds of concerns that scholars like Barbara Harlow and Caolyn Forché have highlighted within the poetry of witness. Since Psalms of Solomon has yet to be explored through these dual lenses of resistance and resistance poetry, this article examines these early Jewish psalms in light of these scholarly trends. I argue that Psalms of Solomon can be understood as a kind of resistance poetry that enabled a community of Jews in the first century B. C. E. to resist the dominant discourse of both the Roman Empire and its client king, Herod the Great. The themes of history, identity, and possibility that pervade resistance poetry in other times and places are central features of Psalms of Solomon.

Echo of Poesy in South Africa’s Politics: Form and Resistance in Dennis Brutus’ “Simple Lust” and “Letters to Martha”

Apartheid in South Africa began in 1948 AD with the introduction of separatist rule that introduced draconian principles in government. This made formation of associations impossible. There was no free movement of the Blacks. Pass laws were imposed to prevent the Blacks from free movement. This approach brought protest among reasonable people of the World. Within the literary circle, protest literature ensued and emerged to join forces with organizations to clamp down on the draconian system operatives in South Africa. From the 1950s through the 60s and 80s witnessed a plethora of protest literature against the system of government in South Africa. This paper entitled “Echo of Poesy in South Africa Politics: Form and Resistance in Dennis Brutus’ Letters to Martha and A Simple Lust examined South Africa’s protest literature with particular reference to Dennis Brutus’s poetry of resistance showing the various circumstances which Dennis Brutus offers his poetry of resistance.

An Analysis of Jack Mapanje’s Poetry with Particular Reference to his use of Obscuring Devices

Jack Mapanje’s poetry is a true reflection of his society through the use of obscuring devices. These obscuring devices are necessary to ensure that the literary work reaches its intended audience in a totalitarian society. Overall, Jack Mapanje’s poetry exploits creatures from the world of nature—mammals, birds, amphibians, reptiles and insects—for close association with life experiences in various contexts and situations and with people he viewed with contempt and disgust and those he regarded with tenderness and compassion. He utilises them to conceptualize and construct a wide range of ideas that respond to questions of justice, identity and belonging. It all thus becomes part of ecocriticism which is defined by various authors as ‘the study of the relationship between literature and the physical environment’. This eco-critical reading, the use of animal imagery in his poetry makes it stand apart and ahead of other resistance poetry and makes new statements about the relationships between animals, poetry and political resistance in African literature. Mapanje’s poetry is a direct response and a stance of resistance to social injustice, especially the debasement of culture, abuse of power, despotism, oppression and exploitation of the masses by the hegemonic regime of Dr. Hastings in Malawi that leads to his incarceration and final forced flight from his motherland. This paper attempts to showcase the nature of poetic expressions produced in a repressive society.

La poesía: un puente entre Palestina y nuestra América

Desde tiempos remotos, la poesía ha sido el género literario por excelencia para los árabes. Antes del Islam, se celebraba anualmente un Festival poético en la Meca. Se llamaba “Suq Uqaz”. Ahí competían los poetas. El poema ganador tenía como premio ser colgado en la Kaaba. Hasta ahora se estudian los Poemas Colgantes, considerados como lo mejor que se ha escrito en árabe.El fenómeno de la Poesía de Resistencia es el favorito de la mayoría lectora. Este fenómeno tuvo grandes exponentes, entre los que destacan Mahmud Darwish, Samih Al Qasem, Tawfiq Zayyad y Rashed Husein, quienes fueron parte del pueblo palestino que se quedó en su tierra palestina al ser ocupada por el movimiento sionista que estableció el Estado de Israel en 1948.

Rhymed Circumstances in Aragon's Musée Grévin

ABSTRACTBuilding on work by scholars such as Michel Murat and Philippe Forest, I argue for the interrelation of two notions—circumstance and rhyme—in Aragon's Occupation-era essays. These essays defend “circumstantial” over “pure” poetry and promote rhyme and reason's compatibility. In keeping with those values, historical and visual analogies (“rhymes”) abound in the Resistance poetry of Aragon's Musée Grévin (1943), whose title foretells fascist leaders' derisory future as immobile, waxen afterimages. Its central poem, by casting Hitler as Goethe's “Sorcerer's Apprentice,” depicts language's power to enchant or immobilize. Furthermore, Aragon's poem itself develops an illusion of imprecatory power exerted over the Führer. It does so, I argue, by engaging with readers' memory for sound, idiom, and history. Rhymes and familiar fixed expressions lend inexorability to the poet's pronouncements. And by “rhyming” historical circumstances (downfallen autocrats) with contemporary circumstances (fascists in power), Aragon prophesies the “pattern's” logical, inevitable conclusion: the fascists' downfall.

On the Poetics and Politics of the Afar Kassow

The Afar people have a rich poetic tradition pertaining to every aspect of their pastoral way of life in the harsh condition of the Afar desert. One of the many genres of Afar poetics is Afar Kassow the folk’s poetized performance art. Scholars such as Morin and Hassan have identified the types and to some extent utilities of the various genres of Afar poetics, including Kassow however none fully presented the rich poetic tradition of the Afar society. The Afar Kassow is presented as poetry of accusation, defiance and resistance per se. Nonetheless, the vital utility of Afar Kassow for building consensus, empathy and understanding across wider geographic, political and social space has been unattended. It has a unique illocutionary and creative power emended in addressing the immediacy of the concrete and existential needs of the Afar people in the Horn. The poetics and politics of Afar Kassow have not been examined at wider scale and in a cross-generational manner from the period of Tola Hanfexe the leading poet of 19th century Afar to date. Therefore, this study, based on primary and secondary data, brings to light the multidimensional utility of Afar Kassow and related genres from multi-disciplinary vintage point. The authors argue that the imperative for invigorating the powerful role of Afar Kassow to keep historical themes reverberating across generations in the service of ideal of peace, reconciliation and democratic toleration of differences to the troubled local and regional relations in the Afar-Horn states. Still more vital is its utility for reducing violence (in all its forms and manifestations), increasing justice and constructive transformation of local and regional conflicts.

A study of the poetry of the resisting prisoners under the Israeli occupation

Most of the Palestinian youth entered the prisons of the occupation, and this research deals with the literature of the resistance of the poets who were in captivity, and they sang with the hope of release, and his hope was obtained from them. To address the poetry of resistance in prisons and detention centers, and to study this literature from the modern critical point of view, where we note the frequent use of symbols, especially women, among poets of resistance, and thus we note the large number of terms that have been related to the literature of resistance, such as words such as detainee, prison, soldiers, comrades, freedom, The land and... In this article, we aim to study the resistance poetry of the captives and touch on the features of this literature and the symbolism of this literature. The approach of this article is descriptive-analytical.

A Fete of Lamentations

The Nigerian political milieu has, for more than five decades since independence, been bedevilled by adventurist civilian and military leaders, coups d’ état, and a seemingly ‘docile’ citizenry (who receive the ‘fallout’ of bad governance). This political landscape saw a handful of democratic governments (two overthrown by putsch). These leadership swaps have resulted in no major changes in the socio-political and economic lives of the led. In his poem collection Songs of Odamolugbe, Ademola Dasylva explores imagery, realistic symbolism, and revolutionary poetry to paint, recall, and re-live various past and present debilitating national issues engendered by groups and personalities. This essay draws on Sigmund Freud’s psychoanalytical theory of the unconscious. Freud distinguishes between psychoanalysis as i) a method for investigating unconscious mental processes and ii) a method for treating neurotic disorders. There is the subtle examination of the mental workings of the leadership and the led in and towards governance. This essay seeks to explore how Dasylva exposes leaders’ mental flaws, egoistic behaviour, and wrongly placed ‘patriotism’ and seeks redeeming positives in his poetry of social protest and resistance. The poetry rejects the cerebral, laissez-faire ‘sit-down-look’ attitude of the people, encouraging instead a different type of analytical and active ‘patriotism’ imbued with the fresh spirit of ‘Naija’. The essay affirms that there should be full and positive participation in the polity and development of the country by both the leaders and the led.