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Wayde Comptons poetry collection Performance Bond is a union of hip-hop aesthetics and visual poetry to create a space for Vancouvers black community. Although the majority of the poems in Performance Bond are lyric, visual poems have a significant and varied presence in the book. Compton creates his visual poetry by including such materials as photographs and signs, concrete poetry and pseudo-concrete poetry, graffiti, a simulated newspaper facsimile of an original Vancouver Daily Province article, voodoo symbols, and typed characters that do not necessarily form words. Despite a contemporary population of over two million people, the greater Vancouver area of today does not have a centralized black community similar to that found in other North American cities like New York, Chicago, Los Angles, Toronto, or Halifax. To reconcile the absence of a centralized black community in Vancouver, Compton turns to sampling black culture from across the world (with an obvious concentration on the United States) in order to develop and represent his own black identity. The similarities between visual poetry and hip-hop culture, particularly their emphasis on spatial representation, facilitate Comptons continuing project to create a place for the black community in Vancouver.

Wayde Comptons poetry collection Performance Bond is a union of hip-hop aesthetics and visual poetry to create a space for Vancouvers black community. Although the majority of the poems in Performance Bond are lyric, visual poems have a significant and varied presence in the book. Compton creates his visual poetry by including such materials as photographs and signs, concrete poetry and pseudo-concrete poetry, graffiti, a simulated newspaper facsimile of an original Vancouver Daily Province article, voodoo symbols, and typed characters that do not necessarily form words. Despite a contemporary population of over two million people, the greater Vancouver area of today does not have a centralized black community similar to that found in other North American cities like New York, Chicago, Los Angles, Toronto, or Halifax. To reconcile the absence of a centralized black community in Vancouver, Compton turns to sampling black culture from across the world (with an obvious concentration on the United States) in order to develop and represent his own black identity. The similarities between visual poetry and hip-hop culture, particularly their emphasis on spatial representation, facilitate Comptons continuing project to create a place for the black community in Vancouver.

Thesis (M.A.)--University of Toronto, 2005. / Source: Masters Abstracts International, Volume: 44-02, page: 0711. Includes bibliographical references (leaves 115-122).

Thesis (M.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains v, 73 p. Includes abstract. Includes bibliographical references (p. 71-73).

In this thesis I attempt to examine the way that rural women in Natal, from the early 1950s to the 1980s, were relegated to the periphery of both white society and black traditional society. Lauretta Ngcobo's second novel And They Didn't Die is therefore a very useful resource as it takes a look at the interplay of traditional black patriarchy, white patriarchy, and the way rural women were affected by these oppressive institutions. And They Didn't Die examines the way that apartheid affected rural communities and the individual. It investigates the various struggles faced by rural women; how women have to negotiate their own identities within different systems. And They Didn't Die focuses on the political, economic, and traditional struggles of rural women in Natal at the end of the 1950s, but unlike other novels, And They Didn't Die also focuses on the sexual identities of rural women, and how they mobilised themselves through political activities such as the struggle against the dreaded pass laws, and the protests against the beer halls. And They Didn't Die is a novel which explores political, traditional, economic, sexual, and communal aspects of rural life. Ngcobo foregrounds the communal, political, economic, and traditional problems that the women in the novel have to face. Ngcobo recreates the various political protests that were happening at this time, to demonstrate the construction of the black woman as political subject. She carefully demonstrates how agency has to be negotiated with both the white authorities and black patriarchy. Black South African women were forced to fight double political battles on the domestic and national fronts. The split structure of the political and traditional struggle is at the center of Ngcobo's work. And They Didn't Die shows that the struggle for female subjectivity is a dynamic process. In South Africa, rural black women had to negotiate numerous subject positions. Forging a sense of selfhood was difficult, especially when confronted with dual patriarchies, apartheid, and the constant negotiation with tradition. Ngcobo's novel is an interesting fictional account that draws on various historical events that offers the reader a sense of what women had to go through in order to survive the atrocities of apartheid. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1999.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Photocopy. Supervisor: Helena Woodard. Vita. Includes bibliographical references (P. 156-160).

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 56-62).

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 188-202). Also available on the Internet.