...OF CONTEMPORARY SOUTH AFRICAN POETRY A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY: THE LANGUAGE OF CONFLICT AND COMMITMENT By Laura Holland, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1987 MASTER OF Arts (1987) (English) McMASTER UNIVERSITY Hamilton, Ontario TITLE: A Critical Survey of Contemporary South African Poetry: The Language of Conflict and Commitment AUTHOR: Laura Linda Holland, B.A. (University of Alberta) SUPERVISOR: Dr. Alan Bishop NUMBER OF PAGES: v, 134 ii ABSTRACT The thes is concentrates on South African poetry from 1960 to the present. It closely examines a selection of poems by Breyten Breytenbach, Dennis Brutus, Pascal Gwala, Wopko Jensma, Oswald Mtshali, Arthur Nortje, Cosmo Pieterse, Sipho Sepamla, and Wally Serote, among others. The body of the thesis discusses these poets' contributions to poetry about prison, exile, and township life. The thesis focuses on the struggle between various polical, racial, and cultural groups for hegemony over South Africa's poetic development. Such issues as language, ideology, and censorship are explored insofar as they in! .luence t:ne content and structure of the poetry. This body of poems, sadly, is little studied in North America. The thesis presents an introduction to and a survey of the major tendencies in South African poetry and, in part, attempts to relate...
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...When popular music adopts a political position is this supportive to a cause or to a particular artist’s personal wealth and public image? Popular music has served as a voice of the people and for the people for many years. Songs have moulded and reflected political ideologies, opinions and decisions for decades. Music made by one voice can be echoed by many and when adopting a political stand against or for something this can also be echoed in the masses. Artists over the years have put their necks and careers on the line to be bold and valiant with their opinions on how the world should turn and be governed. But do these views and outlooks actually change anything? Do they create awareness? Are the artists sincere and genuine about their concern? Or are they just to boost their public status and reputation; a money making scheme to sell records and to reach the top of the charts? These are all the questions one can ask themselves about the sincerity of the musician. During the 20th and the 21st century there have been a lot of social and economic changes. People began to view the world in a different light; they began to see the workings of their planet and began to understand that it was their land as much as the next persons. Due to these ever changing visions and ideals, people began to protest and challenge changes, rules, laws and orders made by heads of state and government. The public lashed out in demonstrations and opposition parties. During these whirlwind spectacles...
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...Davon Keppel Professor Todd Craig English 112 3/19/16 What Is Happening to The Message? Throughout history, poets were known for telling the people what was going on in either their country or town. Hip-hop was born as a descendant from poetry. But as it began its craze was due to the DJ scratching different beats together. As the DJ began to like the music they created it became background sound to the lyrical Emcee. Everyone wanted to know what the Emcee had to say and how they would rhyme. I have noticed that the positive message in the Emcees rhyme’s and political statements that rap music started with began to deteriorate over time. It was as though hip hop went from talking about what was going on currently in a positive way, to rappers encouraging violence as promoting a negative message. Since the 1980’s to current time there has been a persistent problem of how hip-hop has changed. Grand Master Flash’s “The Message” is a sociopolitical rap song that is truly about poverty and how inner city life was in America in 1982. The first verse speaks to the apparent struggle in his time, “Got no money to move out, I guess I got no choice”. Many people at the time, even though their surroundings were not safe, had no money to move away. Another verse from Master Flash “Rats in the front room, roaches in the back/ Junkies in the alley with the baseball bat” is a light way to show the public what is going on in some neighborhoods. In the 1980’s there was a crack epidemic...
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...Fall 2013 11/1/2013 Unit 3 Assignment: “How Do You Say It?” Final Draft Language and Translation Language is the basic tool people use to communicate with each other, including verbal language and non-verbal language. Language is used to announce, to persuade, to queries, to express emotions, to transmit complicated ideas or even to hurt people. Generally speaking, using the language correctly allows people to communicate better, compared with animals. However, we live in a big world, which has more than 6 billion people now. With the existence of many different languages, the issues of translation are generated. After reading Alberto Rios essay – Translating Translation: Finding the Beginning, I know Rios understands languages and translation in complex and stratified ways, from cultures and manners. He writes “Language is more than what we say – it’s also how we say it, and whether or not we even understand what we are saying. ” in his short essay (508). It can be understood easily why Rios pays so much attention to languages and translation. He grew up on the southwestern borderlands, having a Mexican father and an English mother. (504) The place he grew up is a place where cultures of the United States and Mexico meet and collide. Based on his own experience of dealing with different cultures and different languages, he points out how to say is more significant than what we say. The elements making his essay to be persuasive and...
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...be doin’ fine, well I’ve never recovered/ but tonight ‘betcha that whatch yer/’bout to go through’s tougher than anything I ever have suffered/can’t think of a, better way to define poetic justice/can I hold grudges? Mind sayin’ “let it go fuck this”/hearts sayin’ “I will once I bury this bitch alive hide the shovel and then drive off in the sunset”/and… Chorus I flee the scene, like it was my last ride/you see right through, oh, you had me pegged the first time/you can see the truth, but it’s easier to justify/what’s bad is good and I hate to be the bad guy/I just hate to be the bad guy/follow me I run, I run, follow me, follow me, I just hate to be the bad guy/Verse 2 And to think I used to think you was the shit, bitch/to think it was you at one time I worshiped? Shit/think you can hurt people and just keep getting’ away with it?/ Not this time you, better go and get the sewing kit, bitch/finish this stitch, so you can reap what you sew, knit wit/thought some time would pass and I’d forget it? Forgit it/you left our family in shambles, and you expect me to just get over him? Pretend he never existed?/May be gone, but he’s not forgotten and don’t...
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...virtuality, to their lineaments” (Exploits & Opinions of Doctor Faustroll, Pataphysician, 22). However, many debate as to what the true meaning of the word due to its relative definition. Pataphysics “. . . depends upon the point of view, and is codified only for convenience. . .” (Exploits & Opinions of Doctor Faustroll, Pataphysician, 25), which results in numerous definitions as each individual holds a unique point of view. The uniqueness of the word also contributes to the beauty of the ideal since it is what it so desires to be to each individual and never ceases since its basis is on relative standing as it “. . . seems to mean that the virtual or imaginary nature of things as glimpsed by the heightened vision of poetry or science or love can be seized and lived as real” and is interpreted as “. . . the ultimate form of ‘authentic enactment’” (Exploits & Opinions of Doctor Faustroll, Pataphysician, ix). The complexity of this topic is a direct result from Jarry himself as he never desired to deal with the simple things. Jarry held the conviction that “talking about things that are understandable only weighs down the mind and falsifies the memory, but the absurd exercises the mind and makes the memory work” (New Directions Publishing Co., VIII). A large group of followers dedicated to the field of pataphysics had eventually formed together and established Le Collège de ’Pataphysique in 1948 that “. . . announced itself as an institution which refused to serve any purpose, refused...
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...focusing Hispanic community. After reading the whole book my question is this book merely story telling or autobiographical? This question came to my mind by relating Diaz’s interview in Colbert’s show. Stephen Colbert, the host of show when asked him how he came to America, Diaz answered that his father first came to New York, settled here and called them over. Diaz also mentioned that he saw his dad the first time as he was away from family and once they landed to America his father took them to New Jersey which was weird according to Diaz. Same scenario was somewhat presented in beginning of Drown but through Yunior- the narrator. Diaz used the specific words and some symbols which the reader can almost feel the story as if it is real. Diaz, who was born in Santo Domingo in Dominican Republic and migrated to New Jersey when he was six; portrayed the barrios of Dominican Republican and struggling urban communities of New Jersey. Overall, he presented many themes in Drown jumping from one important chapter of life to another. For instance, poverty, cultural difference, hope of living American dream, family issues in respect of absent father and branched to immigration. However legitimacy and...
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...ENG 202: Brandel Of Prisoners & Superheroes Shalin Patel Poem Title: Prisoner No. 786 Drama Title: Love is Bl(ow)ind Creative Non-Fiction Title: v/s The Biased Media of the 21st Century Fiction Title: Sub-Urban Superhero Reflection Essay Included Total Word Count: 5095 Prisoner No. 786 I, prisoner number 786, stick my head out through these iron bars. I watch as days, months and years turn into eons. The smell of the warm moist mud reminds me of all those carefree afternoons I spent on my mama’s porch watching the rain pass by. The scorching sun on my face reminds me of the sweetest iced tea my sister used to so carefully prepare. The unflinching rain at times takes me back to the fields where I would play soccer for hours at end with my cousins. The bitter cold within my bones reminds me of the steaming hot barbecue my father would make so passionately, never failing to impress. This man standing outside my cell tells me this is not my country, then why does it feel like I’m right at home? He says I’m not like him, then why do I feel like he’s like me? I, prisoner number 786, stick my head out through these iron bars. I stare towards the heavens as a white fairy descends from the village of dreams. I don’t know who she is, but she talks like she’s all mine. When I listen to her, it feels like I want to go out there and live again. When she makes all those fake promises, she makes me want to believe in myself again. I, prisoner number 786, stick my head out through these...
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...GOD HATES US ALL GOD HATES US ALL HANK MOODY with Jonathan Grotenstein Simon Spotlight Entertainment A Division of Simon & Schuster, Inc. 1230 Avenue of the Americas New York, NY 10020 www.SimonandSchuster.com This book is a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. Copyright © 2009 by Showtime Networks Inc. Showtime and related marks are registered trademarks of Showtime Networks Inc., a CBS Company. All rights reserved. All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Pocket Books Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020. First Simon Spotlight Entertainment trade paperback edition August 2009 SIMON SPOTLIGHT ENTERTAINMENT and colophon are trademarks of Simon & Schuster, Inc. For information about special discounts for bulk purchases, please contact Simon & Schuster Special Sales at 1-866-506-1949 or business@simonandschuster.com. The Simon & Schuster Speakers Bureau can bring authors to your live event. For more information or to book an event contact the Simon & Schuster Speakers Bureau at 1-866-248-3049 or visit our website at www.simonspeakers.com. Designed by Jaime Putorti Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress...
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...Engl 503 S.M. Rabillard Term Paper Dec 6 2001 Exchanging the Currency of Authenticity: Live Performance and Mediatization in Hiphop Culture Baba Brinkman 0135748 Welcome to the wonderful World of entertainment Where art imitates life And people get famous Welcome to the world Of show-biz arrangements Where "lights, camera, action" Is the language. -Jurrasic 5 Performance studies in the last few years has begun to reject essentialist notions of live performance as ontologically distinct from the influence of recorded media, or mediatization. Philip Auslander deconstructs the traditional binary of live versus mediatized forms in his recent study, Liveness: Live Performance in a Mediatized Culture. Since hiphop culture and rap music originated in a post-industrial urban setting, they have always been inherently mediatized to some degree. However, if there is no unmediatized performance in hiphop culture, a huge premium is still placed on immediacy. Since the appearance of rap records in the late seventies and MTV rap music videos in the mid-eighties it has become increasingly easier for rap artists to achieve success without having to first build a local following. In response to this phenomenon, music critic Nelson George has made a political analogy: recorded media "has made rap more democratic--but is democracy good for art? Hiphop was, at one point, a true meritocracy"(George 113).i Hiphop culture struggles between its status as meritocracy ...
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...Before the United States became militarily involved in defending the sovereignty of South Vietnam, it had to, as one historian recently put it, "invent" the country and the political issues at stake there. The Vietnam War was in many ways a wild and terrible work of fiction written by some dangerous and frightening story tellers. First the United States decided what constituted good and evil, right and wrong, civilized and uncivilized, freedom and oppression for Vietnam, according to American standards; then it traveled the long physical distance to Vietnam and attempted to make its own notions about these things clear to the Vietnamese people—ultimately by brute, technological force. For the U.S. military and government, the Vietnam that they had in effect invented became fact. For the soldiers that the government then sent there, however, the facts that their government had created about who was the enemy, what were the issues, and how the war was to be won were quickly overshadowed by a world of uncertainty. Ultimately, trying to stay alive long enough to return home in one piece was the only thing that made any sense to them. As David Halberstam puts it in his novel, One Very Hot Day, the only fact of which an American soldier in Vietnam could be certain was that "yes was no longer yes, no was no longer no, maybe was more certainly maybe." Almost all of the literature on the war, both fictional and nonfictional, makes clear that the only certain thing during the Vietnam War...
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...* Alphabetical idioms - lists A : * list A1 : abbreviated piece of nothing → (hold all the) aces * list A2 : achilles heel → alarm bells * list A3 : all along → all the rage * list A4 : all sizzle and no steak → apple of your eye * list A5 : (upset the) applecart → at all costs * list A6 : at this stage of the game → (have an) axe to grind * Alphabetical idioms - lists B : * list B1 : (leave someone holding the) baby → in bad shape * list B2 : badger someone → whole new ball game * list B3 : ballpark figure → battle lines are drawn * list B4 : battle of wills → beat a dead horse * list B5 : beat a hasty retreat → before your very eyes * list B6 : beggar can't be choosers → beside yourself * list B7 : best bet → beyond any reasonable doubt * list B8 : beyond one's wildest dreams → bite the bullet * list B9 : bite the dust → blamestorming * list B10 : blank cheque → blow away the cobwebs * list B11 : blow a fuse → above board * list B12 : in the same boat → bored to tears * list B13 : born with silver spoon in your mouth → all brawn no brain * list B14 : know which side your bread is buttered → a breeze * list B15 : bricks and mortar/bricks and clicks → pass the buck * list B16 : kick the bucket → burning question * list B17 : bury your head in the sand → by degrees ...
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...Focus Simplify Take Responsibility End to End When Behind, Leapfrog 150 100 150 100 Put Products Before Profits Don’t Be a Slave to Focus Groups Bend Reality 150 150 100 Push for Perfection Impute 100 Tolerate Only “A” Players Engage Face-to-Face 150 0 150 15 Know Both the Big Picture and The Details 100 0 100 10 150 100 150 100 150 100 Combine the Humanities with The Sciences Stay Hungry, Stay Foolish 150 100 HBR.ORG ILLUSTRATION: TREVOR NELSON The Real Leadership Lessons of Steve Jobs Six months after Jobs’s death, the author of his best-selling biography identifies the practices that every CEO can try to emulate. by Walter Isaacson April 2012 Harvard Business Review 93 THE REAL LEADERSHIP LESSONS OF STEVE JOBS “The people who are crazy enough to think they can change the world are the ones who do.” —Apple’s “Think Different” commercial, 1997 HIS SAGA IS the entrepreneurial creation myth writ large: Steve Jobs cofounded Apple in his parents’ garage in 1976, was ousted in 1985, returned to rescue it from near bankruptcy in 1997, and by the time he died, in October 2011, had built it into the world’s most valuable company. Along the way he helped to transform seven industries: personal computing, animated movies, music, phones, tablet computing, retail stores, and digital publishing. He thus belongs in the pantheon of America’s great innovators, along ...
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...Ok. First, I just want to say that I think it is so cool that you guys have this awesome forum. I’ve never had a good reason to post in it before, but, well, I’m in Mr. McMurtry’s 10th grade honors English class (go me), and our half-year fiction project is due just before winter break, which is coming up. Ok. So, before you read this, you should know that I already asked Mr. McMurtry if I could write my fiction project in an experimental science fiction style and make lots of horrible, malicious, false, and hateful blood libels against the Mormons, and he asked what I had in mind, and I told him that I thought it could be cool to write a story that consisted entirely of a War between Mormons and Scientologists and Atheist Texan Cowboys in the Future, and he said that would be fine. I knew he’d let me do it, as his homosexuality is a well known fact to the student body, and therefore his concomitant openness to avant-guard art and literature and experimentation and stuff like that. Not like the other English teacher, Ms. Nichols, who is the sort of totally sexless spinster that makes her students write poems about Jesus, which I’m pretty sure is fucking illegal, although I’m sure nobody in this hick town cares. God and Football, all the way. Ok, so, then I didn’t do any work on it at all until last night. We had to do a one-page outline a few weeks ago, which is so stupid, so I did it on the bus and I have no idea what I wrote, so last night I just started over from scratch...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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