187210746-Keith-Jarrett-Various-Transcripts

In a situation of oppression, there are no choices beyond didactic writing: either you are a tool of oppression or an instrument of liberation" Keorapetse Kgositsile. ABSTRACT This paper focuses on the politically charged poetry of Keorapetse Kgositsile and Denis Brutus of South Africa. The paper acknowledges the fact that this poetry emerged as a result of the oppressive apartheid condition in South Africa and it was a reaction to it by the oppressed blacks as represented by Keorapetse Kgositsile and Denis Brutus. The paper will then shift its foci to poems by the above poets and an attempt to decipher meaning with regard to the context in which they were written. An appendix containing the poetry of Denis Brutus is attached at the end of the book. The appendix is of great importance to the discussion on Denis Brutus as it focuses on one of Brutus's classic poem; "Robben Island sequence".

Ekphrasis. Images, Cinema, Theory, Media, 2015

As creativity can be considered one of the most valuable commodities in the 21 st century (Harris 2014), its grassroots implications at a global level, especially in regards to fandom practices, provide a fertile ground for academic debate and analysis. One particular case is the popular activity of making animated musical videos (AMVs) in the universe of the Japanese animation (anime) fandom worldwide. Considering this particular type of fan made object in the wider context of the remix culture, L. Manovich argues: " (…) the great majority of AMVs consist of segments lifted from commercial anime shows and commercial music. (…) To use de Certeau's terms, we can describe the process of creating new web content as a tactical creativity, which " expects to have to work on things in order to make them its own, or to make them 'habitable'. " (326). The current paper addresses the case of AMVs both as grassroots creativity and as tactical creativity in order to tackle with issues such as the local/global divide in fandom communities and the self-exploratory/self-performance value of AMVs. Analyzing the case of Romanian AMV " producers " , the paper will also further explore to what extent is this practice a form of creative subversion or just another form of creative commodification? Are anime fans grassroots activists or just database animals (Azuma 2009)?

American Indian Quarterly, 1996

After the Funeral" is a tribute and elegy to Thomas' aunt Ann Jones with whom he shared a deep bond. The death of Aunt Jones left a profound impact on the poet. The poem "Fern-Hill" commemorates the happy moments he spent on Aunt Jones' farm. This particular poem stands apart from the other poems of Thomas: it is the only one that is associated with an individual while others deal with experiences or abstractions. The poem begins in the typical style of the elegy expressing contempt for the hypocritical mourners whose formal salutations of grief are depicted as "mule praises" and "brays". They appear like asses in their superficiality and shook they ass-like ears rendering the tragic situation a mockery. They walked "muffle-toed' in keeping with the atmosphere of the funeral. "Tap-tap" also refers to the sound of nails being hammered into the coffin.

Ijele Art Ejournal of the African World, 2000

An analysis of the Ovidian echoes and thematic inversions in the Commedia.