bones & flesh
- Authors: Hammerton, Kerry
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6009 , http://hdl.handle.net/10962/d1021221
- Description: My collection encompasses personal relationships, intimacy, and the erotic, as well as more narrative poems grounded in landscapes, including urban and internal landscapes. Some were written in conversation with other poems or pieces of prose such as the stories of Noy Holland. I use free verse forms influenced by various prose poems as well as by the musical/tonal forms of poets such as Lorca. Other styles and influences include the darkness and directness of Spanish poetry particularly Rafael Alberti (esp. his book Concerning the Angels); and the confident and reflective style of Romanian poet Nina Cassian.
- Full Text:
- Authors: Hammerton, Kerry
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6009 , http://hdl.handle.net/10962/d1021221
- Description: My collection encompasses personal relationships, intimacy, and the erotic, as well as more narrative poems grounded in landscapes, including urban and internal landscapes. Some were written in conversation with other poems or pieces of prose such as the stories of Noy Holland. I use free verse forms influenced by various prose poems as well as by the musical/tonal forms of poets such as Lorca. Other styles and influences include the darkness and directness of Spanish poetry particularly Rafael Alberti (esp. his book Concerning the Angels); and the confident and reflective style of Romanian poet Nina Cassian.
- Full Text:
Hearing things
- Authors: Claassen, José
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6019 , http://hdl.handle.net/10962/d1021243
- Description: William Carlos Williams wrote: "It isn't what the poet says that counts as a work of art, it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity." I would like to think that my poems only borrow life from my pen, taking on an identity and music of their own with the help of some ‘making’ on my part. My poems embrace a continuum of human experience from the intrapersonal to the societal. Using imagistic and cinematic forms, they preserve the vitality of their sources, from the music of cityscapes, to the texture of emotions, to the narratives of particular characters.
- Full Text:
- Authors: Claassen, José
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6019 , http://hdl.handle.net/10962/d1021243
- Description: William Carlos Williams wrote: "It isn't what the poet says that counts as a work of art, it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity." I would like to think that my poems only borrow life from my pen, taking on an identity and music of their own with the help of some ‘making’ on my part. My poems embrace a continuum of human experience from the intrapersonal to the societal. Using imagistic and cinematic forms, they preserve the vitality of their sources, from the music of cityscapes, to the texture of emotions, to the narratives of particular characters.
- Full Text:
Hungry on arrival
- Authors: Mofokeng, Kabelo
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6020 , http://hdl.handle.net/10962/d1021244
- Description: My collection embraces different kinds of poetry, I also write my own journey through my home in Pimville Soweto, the urban sounds and multilingual speech patterns as I move through it. Other poems draw on the Sesotho culture and tradition which still runs strongly in my family, and here I integrate the different kinds of sounds and associations of Sesotho and English in the same poem. I am inspired by the works and lives of artists and poets such as, Mafika Gwala, Jackson Hlungwani, and Herbie Tsoaeli amongst others. Other poems emerging are dense and self-reflective manifesting a transitional period whereby the poet experiments with form and style in the manner of Arthur Nortje and Angifi Dladla.
- Full Text:
- Authors: Mofokeng, Kabelo
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6020 , http://hdl.handle.net/10962/d1021244
- Description: My collection embraces different kinds of poetry, I also write my own journey through my home in Pimville Soweto, the urban sounds and multilingual speech patterns as I move through it. Other poems draw on the Sesotho culture and tradition which still runs strongly in my family, and here I integrate the different kinds of sounds and associations of Sesotho and English in the same poem. I am inspired by the works and lives of artists and poets such as, Mafika Gwala, Jackson Hlungwani, and Herbie Tsoaeli amongst others. Other poems emerging are dense and self-reflective manifesting a transitional period whereby the poet experiments with form and style in the manner of Arthur Nortje and Angifi Dladla.
- Full Text:
I have gone away many times
- Metileni, Moses Nzama Khaizen
- Authors: Metileni, Moses Nzama Khaizen
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6010 , http://hdl.handle.net/10962/d1021225
- Description: I search for beauty and for myself amidst the debris and ruin and violence, so my poems are mainly grounded narratives that combine the lyrical and the political, celebration and lament. They reconnect with nature, the now ravaged landscapes that gave me my first impulse to make songs, poetry, and art. My poems also draw on my Xitsonga culture – its folklore, proverbs, idioms, parables, and clan praise songs. Stylistically I am influenced by Mahmoud Darwish’s and Garcia Lorca’s musical structures, while Aimé Césaire has shown me how to write a long poem in both abstract and concrete registers, and Yehuda Amichai how to write with a questioning style, dislodging accepted dogma. Local influences are Mzi Mahola and James Magaisa, with their critique and celebration of culture. I pick up fragments elsewhere, as I go.
- Full Text:
- Authors: Metileni, Moses Nzama Khaizen
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6010 , http://hdl.handle.net/10962/d1021225
- Description: I search for beauty and for myself amidst the debris and ruin and violence, so my poems are mainly grounded narratives that combine the lyrical and the political, celebration and lament. They reconnect with nature, the now ravaged landscapes that gave me my first impulse to make songs, poetry, and art. My poems also draw on my Xitsonga culture – its folklore, proverbs, idioms, parables, and clan praise songs. Stylistically I am influenced by Mahmoud Darwish’s and Garcia Lorca’s musical structures, while Aimé Césaire has shown me how to write a long poem in both abstract and concrete registers, and Yehuda Amichai how to write with a questioning style, dislodging accepted dogma. Local influences are Mzi Mahola and James Magaisa, with their critique and celebration of culture. I pick up fragments elsewhere, as I go.
- Full Text:
If I still want to breathe
- Authors: Billie, Ayanda
- Date: 2016
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: vital:6012 , http://hdl.handle.net/10962/1021231
- Description: One theme of this collection is the joy and the deep seated grief of my community of Kwa-Nobuhle; the brightness of hope on the faces on children running around our streets, the strides made by their mothers, the confusion of factory workers who are lost in darkness since the dawn of new dispensation. Then there are more personal poems: my own joys as well as the difficulties that have kept me from sleep and strangled my dreams as a writer, even though like Mafika Gwala, I believe that “words are born the way mothers beget children/words are born to survive time”. My style is influenced by imagistic, mystic and soulful poetry, such as the haunting Spanish voice of Garcia Lorca who wrote “I lose myself in the heart of certain children” and the absorbing isiXhosa voice of S E K Mqhayi. In response to their poetry my offering will be words that enliven us; my style will be what I see in the mirror, through the window, the sound of rain on my zinc roof and what frightens me. , Ndixomoloze ndiboph’ amaxonya, ndisenza eli linge lokuzama ukuxhathalaza kulo msinga uzakutshayela ulwimi lwethu. Nantso ke incwadana ndiyithe qhiwu ngendebe endiyithiye ngegama elithi Umhlaba Umanzi. Umhlaba umanzi ziinyembezi zabalilayo, umanzi kukubila kwabasebenzi besombha eludakeni, ufumile ziinkathazo zeminyaka zesizukulwana sesizukulwana. Injongo endifuna ukuyifezekisa ngeli nqaku yeyokuba umntu achole ntwana ithile ngokujonga imeko esiphila kuzo gabalala, ekuhlaleni, emakhayeni ethu nakwii ndawo esixelenga kuzo. Mhlawumbi kuyakuvuseleleka iingcinga neenkumbulo zamhla-mnene, okanye ibophe nezilonda ezimanzi. Ukwanda kwaliwa ngumthakathi. . . Nangomso. , This thesis is presented in two parts: English and isiXhosa.
- Full Text:
- Authors: Billie, Ayanda
- Date: 2016
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: vital:6012 , http://hdl.handle.net/10962/1021231
- Description: One theme of this collection is the joy and the deep seated grief of my community of Kwa-Nobuhle; the brightness of hope on the faces on children running around our streets, the strides made by their mothers, the confusion of factory workers who are lost in darkness since the dawn of new dispensation. Then there are more personal poems: my own joys as well as the difficulties that have kept me from sleep and strangled my dreams as a writer, even though like Mafika Gwala, I believe that “words are born the way mothers beget children/words are born to survive time”. My style is influenced by imagistic, mystic and soulful poetry, such as the haunting Spanish voice of Garcia Lorca who wrote “I lose myself in the heart of certain children” and the absorbing isiXhosa voice of S E K Mqhayi. In response to their poetry my offering will be words that enliven us; my style will be what I see in the mirror, through the window, the sound of rain on my zinc roof and what frightens me. , Ndixomoloze ndiboph’ amaxonya, ndisenza eli linge lokuzama ukuxhathalaza kulo msinga uzakutshayela ulwimi lwethu. Nantso ke incwadana ndiyithe qhiwu ngendebe endiyithiye ngegama elithi Umhlaba Umanzi. Umhlaba umanzi ziinyembezi zabalilayo, umanzi kukubila kwabasebenzi besombha eludakeni, ufumile ziinkathazo zeminyaka zesizukulwana sesizukulwana. Injongo endifuna ukuyifezekisa ngeli nqaku yeyokuba umntu achole ntwana ithile ngokujonga imeko esiphila kuzo gabalala, ekuhlaleni, emakhayeni ethu nakwii ndawo esixelenga kuzo. Mhlawumbi kuyakuvuseleleka iingcinga neenkumbulo zamhla-mnene, okanye ibophe nezilonda ezimanzi. Ukwanda kwaliwa ngumthakathi. . . Nangomso. , This thesis is presented in two parts: English and isiXhosa.
- Full Text:
Ndiyoyika
- Authors: Nyezwa, Mxolisi
- Date: 2016
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: vital:6021 , http://hdl.handle.net/10962/d1021245
- Description: This thesis collection is a book of isiXhosa poems in three sections: - Poems derived and influenced by the rhythmic structure and the lyrics of Maskandi music - More introspective and personal poems derived from other influences: International poetry, South African poetry, and certain jazz and soul music - A major poem titled, “Nozala, umqolo wakho uphandle” which delves into the state of South Africa and explores the relationships that entrench poverty and powerlessness in post-apartheid South Africa. , Le thisisi yingqokelela yemibongo yesiXhosa eyohlulwe yazizigaba ezintathu: - Imibongo ephenjelelwe ziingoma nezingqi zomculo kaMaskandi - Imibongo ephenjelelwe zizimvo neemvakalelo zam njengombhali, ngakumbi iintshukumo zomzimba nezomphefumlo ezithundezwe ziimbongi zamazwe omhlaba, ezoMzantsi Afrika, kunye nemiculo efana ne-jazz, ne-soul - Umbongo ombaxa osihloko sithi, “Nozala, umqolo wakho uphandle” othetha ngelizwe lethu iMzantsi Afrika, uqwalasela indlela ekuphethwe ngayo ilizwe ziziphathamandla, nendlela abasemagunyeni abaphembelela ngayo intswela-ngqesho nentlupheko eluntwini, kwanokufiphala kobutsha-ntliziyo nobuthanda-zwe kubemi beli lizwe.
- Full Text:
- Authors: Nyezwa, Mxolisi
- Date: 2016
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: vital:6021 , http://hdl.handle.net/10962/d1021245
- Description: This thesis collection is a book of isiXhosa poems in three sections: - Poems derived and influenced by the rhythmic structure and the lyrics of Maskandi music - More introspective and personal poems derived from other influences: International poetry, South African poetry, and certain jazz and soul music - A major poem titled, “Nozala, umqolo wakho uphandle” which delves into the state of South Africa and explores the relationships that entrench poverty and powerlessness in post-apartheid South Africa. , Le thisisi yingqokelela yemibongo yesiXhosa eyohlulwe yazizigaba ezintathu: - Imibongo ephenjelelwe ziingoma nezingqi zomculo kaMaskandi - Imibongo ephenjelelwe zizimvo neemvakalelo zam njengombhali, ngakumbi iintshukumo zomzimba nezomphefumlo ezithundezwe ziimbongi zamazwe omhlaba, ezoMzantsi Afrika, kunye nemiculo efana ne-jazz, ne-soul - Umbongo ombaxa osihloko sithi, “Nozala, umqolo wakho uphandle” othetha ngelizwe lethu iMzantsi Afrika, uqwalasela indlela ekuphethwe ngayo ilizwe ziziphathamandla, nendlela abasemagunyeni abaphembelela ngayo intswela-ngqesho nentlupheko eluntwini, kwanokufiphala kobutsha-ntliziyo nobuthanda-zwe kubemi beli lizwe.
- Full Text:
Notebook of unremembered poems
- Authors: McKeown, Jean Wallace
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6013 , http://hdl.handle.net/10962/d1021233
- Description: My poems contain narrative elements and explore themes of identity, motherhood, sexuality, and fear of relinquishing control. Sharon Olds, in her book Stag’s Leap, sums up my intention: “and I saw again how blessed my life has been, / first, to have been able to love, / then, to have the parting now behind me.” My collection chronicles a path towards acceptance of self from childhood onwards, and, more than that, a pleasure and pride in self, and I have tried to find the forms which will reflect this path in the reader’s own experience. Most of the poems are written in a conversational voice and a free-form style which gives me creative licence to explore transition and transformation.
- Full Text:
- Authors: McKeown, Jean Wallace
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6013 , http://hdl.handle.net/10962/d1021233
- Description: My poems contain narrative elements and explore themes of identity, motherhood, sexuality, and fear of relinquishing control. Sharon Olds, in her book Stag’s Leap, sums up my intention: “and I saw again how blessed my life has been, / first, to have been able to love, / then, to have the parting now behind me.” My collection chronicles a path towards acceptance of self from childhood onwards, and, more than that, a pleasure and pride in self, and I have tried to find the forms which will reflect this path in the reader’s own experience. Most of the poems are written in a conversational voice and a free-form style which gives me creative licence to explore transition and transformation.
- Full Text:
Oncoming traffic
- Authors: Manaka, Maakomele R
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6008 , http://hdl.handle.net/10962/1021220
- Description: The poems in my collection Oncoming Traffic mainly look at the silence in my personal conflicts. Fusing different styles and tones of writing from the lyrical to the surreal, these poems grapple with issues I struggle with on a daily basis. First as a man, second as a man with a physical disability, and lastly as a black man dealing with the reality of living in a dysfunctional/disabled society. The silence in my personal conflicts means, writing what I cannot say, stripping myself bare and vulnerable. My inspiration has come from poets who articulate such silences.
- Full Text:
- Authors: Manaka, Maakomele R
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6008 , http://hdl.handle.net/10962/1021220
- Description: The poems in my collection Oncoming Traffic mainly look at the silence in my personal conflicts. Fusing different styles and tones of writing from the lyrical to the surreal, these poems grapple with issues I struggle with on a daily basis. First as a man, second as a man with a physical disability, and lastly as a black man dealing with the reality of living in a dysfunctional/disabled society. The silence in my personal conflicts means, writing what I cannot say, stripping myself bare and vulnerable. My inspiration has come from poets who articulate such silences.
- Full Text:
The beat
- Authors: Masheane, Napo
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6014 , http://hdl.handle.net/10962/d1021234
- Description: My play script is a docu-drama inspired by the 1950s Drum journalists: Can Themba, Bloke Modisane, Nat Nakasa, Henry Nxumalo, Lewis Nkosi, Peter Magubane, Casey Motsitsi and Todd Matshikiza. The setting is a Sophiatown shebeen through which the characters move in and out. The central dramatic exploration hinges on female characters’ experiences rather than the perspectives of the male journalists connected to them. I dramatise documented events such as Modisane’s wife leaving him and taking their daughter with her, or a woman who buried her lover’s body after he was beaten and stabbed to death. There are other twists and turns based on the Drum journalists writings. I play with the seriousness of politics, love affairs, and the comedy of their daily lives. My influences come from plays such as Nongogo (1959) and Sophiatown (1986). The Beat is dedicated to all the women who have been silenced and as a result became products of their consequences. Their voices remind me as a theatre maker that my poems and plays might arrive in me as pure SONGS (Dipina) or a CRY (Kodiyamalla). Sometimes their inspiration will spring from my traditional family rituals, as a PRAISE song/s (Dithoko/ Thoko), or from a simple memory of a childhood church song, a HYMN (Difela/ Sefela). At times these words will present themselves as a source of where one comes from, CLAN NAMES (Seboko/ Poko). These stories will find me in the dusty streets of my village and township HERSTORY… they will touch, move, provoke, push and force me to vomit on page words that are subjects of that which we are even when silence seems inevitable. , My poetry collection fuses Sesotho and English, often within the same poem, as a way of showing how I live within and between two cultures. I write to celebrate these two tongues without compromising either language and allow each poem, to express its own musical component, tone, rhythm, and pace as it moves between stage and page. My poems converse about difficult subjects from a feminine voice. They look at family structures and dynamics, using everyday household things as metaphors. They take on deep family narratives of generational curses, births, deaths and love. There are also some more political poems about community outrage, the exploitation caused by outmoded culture and tradition, and about the nightmare that constantly wants to come out of the township.
- Full Text:
- Authors: Masheane, Napo
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6014 , http://hdl.handle.net/10962/d1021234
- Description: My play script is a docu-drama inspired by the 1950s Drum journalists: Can Themba, Bloke Modisane, Nat Nakasa, Henry Nxumalo, Lewis Nkosi, Peter Magubane, Casey Motsitsi and Todd Matshikiza. The setting is a Sophiatown shebeen through which the characters move in and out. The central dramatic exploration hinges on female characters’ experiences rather than the perspectives of the male journalists connected to them. I dramatise documented events such as Modisane’s wife leaving him and taking their daughter with her, or a woman who buried her lover’s body after he was beaten and stabbed to death. There are other twists and turns based on the Drum journalists writings. I play with the seriousness of politics, love affairs, and the comedy of their daily lives. My influences come from plays such as Nongogo (1959) and Sophiatown (1986). The Beat is dedicated to all the women who have been silenced and as a result became products of their consequences. Their voices remind me as a theatre maker that my poems and plays might arrive in me as pure SONGS (Dipina) or a CRY (Kodiyamalla). Sometimes their inspiration will spring from my traditional family rituals, as a PRAISE song/s (Dithoko/ Thoko), or from a simple memory of a childhood church song, a HYMN (Difela/ Sefela). At times these words will present themselves as a source of where one comes from, CLAN NAMES (Seboko/ Poko). These stories will find me in the dusty streets of my village and township HERSTORY… they will touch, move, provoke, push and force me to vomit on page words that are subjects of that which we are even when silence seems inevitable. , My poetry collection fuses Sesotho and English, often within the same poem, as a way of showing how I live within and between two cultures. I write to celebrate these two tongues without compromising either language and allow each poem, to express its own musical component, tone, rhythm, and pace as it moves between stage and page. My poems converse about difficult subjects from a feminine voice. They look at family structures and dynamics, using everyday household things as metaphors. They take on deep family narratives of generational curses, births, deaths and love. There are also some more political poems about community outrage, the exploitation caused by outmoded culture and tradition, and about the nightmare that constantly wants to come out of the township.
- Full Text:
The smell hits you first
- Authors: Ndoro, Tariro
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6016 , http://hdl.handle.net/10962/d1021236
- Description: This collection of poems and prose poems is a record of my life, from growing up in the small town of Bindura in Zimbabwe to landing in the small town of Grahamstown in South Africa. It is a story of dislocation: physical, emotional, and political. It is a story about borders and boundaries; although not rich, I was raised among the rich; although not white, I spent a considerable part of my childhood in white spaces. These fragments are told through the voice of my younger self and also retrospectively by my adult self. Two important influences on my style and my struggle to write about my identity have been Woman Hollering Creek by Latino American author Sandra Cisneros and Citizen: An American Lyric by US poet Claudia Rankine.
- Full Text:
- Authors: Ndoro, Tariro
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:6016 , http://hdl.handle.net/10962/d1021236
- Description: This collection of poems and prose poems is a record of my life, from growing up in the small town of Bindura in Zimbabwe to landing in the small town of Grahamstown in South Africa. It is a story of dislocation: physical, emotional, and political. It is a story about borders and boundaries; although not rich, I was raised among the rich; although not white, I spent a considerable part of my childhood in white spaces. These fragments are told through the voice of my younger self and also retrospectively by my adult self. Two important influences on my style and my struggle to write about my identity have been Woman Hollering Creek by Latino American author Sandra Cisneros and Citizen: An American Lyric by US poet Claudia Rankine.
- Full Text:
- «
- ‹
- 1
- ›
- »