Il est communément admis que la poésie et le discours politique entretiennent des relations problématiques. Platon avait disqualifié le poète du débat et de la sphère politique, le poète étant alors écarté du langage-instrument. Après la guerre, les mots d’ordre visaient à motiver le poète ou plus généralement l’écrivain à sortir de « l’inaction du texte », de l’inutilité textuelle. Aimé Césaire, chantre de la Négritude, poète, homme politique, essayiste et dramaturge, a su magistralement conjugué les genres littéraires au sein de son œuvre en dépassant la contradiction entre sa poésie et sa politique, que beaucoup lui ont reproché. En effet, nombreux sont ceux qui ont critiqué son action politique jugée contradictoire d’avec son message poétique. Mais de quelle contradiction s’agit-il ? Quelles sont les modalités de cette contradiction? En quoi peut-on parler de contradiction et de dépassement ? Quel processus est mis en place pour établir la « poésicratie » d’Aimé Césaire ? Le lien établi entre la poésie et la politique a nécessité une force créatrice intellectuelle, littéraire et dramaturgique hors du commun de la part du poète, Aimé Césaire, héritier Thotien, homo-creator et homo-pragmaticus. Cette fureur de création a engendré un coup d’Etat à la fois littéraire et politique historique qu’il convient ici, d’analyser et d’exposer par l’examen de la problématique des rapports et la théorie de l’inversion que nous avons établie. L’élévation du poète-oiseau, du poète-prophète et la recherche effrénée du « moi césairien » ont motivé la quête de sens du fondamental. Le « moi poétal » d’Aimé Césaire se pense et s’élabore dans un processus analytique herméneutique pour découvrir le « Moi-Nègre », c’est-à-dire l’Essentiel et l’universel. C’est l’écrit qui épouse l’être éclaté et le transcende en un homme unifié pour découvrir la puissance du mot. Poésie, politique et théâtre, voilà le triptyque teinté d’humanisme et de révolte qui façonne la stratégie du renversement césairien pour faire face à la puissance de l’hermétisme de la contradiction. / It is collectively admitted that the poetry and the political speech maintain problematic relations. Platon had disqualified the poet of the debate and the political sphere, the poet being then moved away by the language-instrument. After the war, watchwords aimed at motivating the poet or more generally the writer to go out of " the inactivity of the text ", of the textual uselessness. Aimé Césaire, bard of the Negritude, poet, politician, essayist and playwright, knew masterfully combined literary genres within its work by exceeding(overtaking) the contradiction between its poetry and its politics(policy), for whom many people blamed him(her). Indeed, many are those who criticized his(her,its) political action(share) considered contradictory from its poetic message. But what contradiction is it a question? What are the modalities(methods) of this contradiction? In what can we speak about contradiction and about overtaking? What process is set up to establish Aimé Césaire's poésicratie "? The link established between the poetry and the politics(policy) required an outstanding intellectual, literary and dramaturgic creative strength on behalf of the poet, Aimé Césaire, the heir Thotien, the gay man(woman) - creator and gay man(woman) - pragmaticus. This fury of creation engendered a coup d'état at the same time literary and political historic that it is advisable here, to analyze and to expose(explain) by the examination of the problem of reports(relationships) and the theory of the inversion which we established. The rise of the poet-bird, the poet-prophet and the wild search(research) of " I césairien " motivated the collection(quest) of sense(direction) of the fundamental. " I poétal " of Aimé Césaire thinks and develops in a hermeneutic analytical process to discover " I Negro ", that is the Main part and the universal. It is the paper which marries him(her,it) to be burst and transcends him(it) in a man unified to discover the power of the word. Poetry, politics(policy) and theater, here is the triptych tinged with humanism and with revolt which shapes the strategy of the reversal césairien to face(to deal with) the power of the hermetism of the contradiction.

Cette thèse se propose de mette en évidence la façon dont Salvatore Quasimodo perçoit le sensible comme un tissu de « signes » qu’il apparente à des messages de l’invisible. Celui-ci les guette dans une quête spirituelle et existentielle générée par son incapacité à habiter harmonieusement le sensible, qu’il tente de combler par un rapport fusionnel à l’invisible : ses premiers poèmes s’apparentent à une solipsiste et onirique sublimation de la souffrance du « je » lyrique dont Dieu est l’interlocuteur unique, dans un dialogue où les mots sont remplacés par les signes. La seconde guerre mondiale introduit un premier changement d’indexation dans le rapport du poète au monde, l’obligeant à une redéfinition de son rapport à l’invisible et, par conséquent, au sensible. Son catholicisme se mue alors en humanisme, manifestation laïque d’une foi qui, elle, ne vacille pas. Au moment où il cesse de croire en Dieu, le poète se met à croire en l’homme. Cet élan enthousiaste est cependant de courte durée : l’homme dont Quasimodo avait rêvé de faire un héros se révèle aussi décevant que Dieu. Le poète se sent alors trahi par l’un comme par l’autre et constate avec amertume la déréliction des signes. Le dernier recueil du Sicilien, Dare e avere, introduit une ultime rupture dans son rapport au monde : celui-ci apparaît soudainement comme réconcilié avec le sensible comme avec l’invisible, dans une plénitude épiphanique. Mais ce qui pourrait à première vue apparaître comme l’accomplissement heureux d’un douloureux parcours initiatique se révèle trompeur : ces derniers recueils sont en réalité une sublimation littéraire de la terreur que ressent le poète à l’approche de la mort. / This thesis aims to show that Salvatore Quasimodo apprehends the physical​​ world as a network of signs he identifies as messages from the invisible world.  He watches out for them in a spiritual and existential quest originating in his inability to live in harmony in the physical world, which he tries to overcome by developing a close relationship with the invisible world. His early poems display the solip​si​​stic sublimation of the sufferings of the poetic voice conversing with God, words being replaced with signs. The Second World War brings about the first major adjustment in the poet's relation to the world, leading him to reconsider his relation to the invisible and, consequently, to the physical world. This is when his Catholic faith turns into a form of humanism, the non-religious expression of an unfaltering faith. As the poet stops believing in God, he starts believing in man. But this fervour does not last, as Quasimodo understands that men are just as cruel as God. The poet Now feeling betrayed by both, the poet acknowledges the dereliction of signs. His last collection, Dare e avere, displays a last alteration in his relation to the world, as he appears to be reconciled with both the physical and the invisible worlds. But what might appear as the happy outcome of a painful initiatory journey proves deceptive : the last collections of poems are actually but a way for the poet to sublimate his growing terror of approaching death.

Taboo and Transgression in British Literature from the Renaissance to the Present develops an innovative overview of the interdisciplinary theoretical approaches to the topic that have emerged in recent years. Alongside exemplary model analyses of key periods and representative primary texts, this exciting new anthology of critical essays has been specifically designed to fill a major gap in the field of literary and cultural studies. This book traces the complex dynamic and ongoing negotiation of notions of transgression and taboo as an essential, though often neglected, facet to understanding the development, production, and conception of literature from the early modern Elizabethan period through postmodern debates. The combination of a broad theoretical and historical framework covering almost fifty representative authors and uvres makes this essential reading for students and specialists alike in the fields of literary studies and cultural studies.

Makala haya yanachanganua jinsi dhana za kifalsafa zinavyoakisiwa katika ushairi wa Kiswahili yakizingatia hasa tenzi zilizoandikwa kuhusu historia za dola za Kiafrika baada ya kupatikana kwa Uhuru. Tenzi nyingi za kundi hili zilitungwa Tanzania wakati wa ujamaa, ndiyo maana itikadi zinazoelezwa zaidi katika tenzi hizi zinahusiana na falsafa ya ujamaa. Uelekeo huu unaonyeshwa katika uchambuzi wa Utenzi wa Pambazuko la Afrika uliotungwa na Mohammed Seif Khatib na kuchapishwa mwaka 1982, ambao unaakisi falsafa ya ujamaa, itikadi za umoja wa Afrika (Panafricanism) na upingani wa ukoloni, ukigusana pia na imani ya Afrika kuwa chanzo cha mawazo mengi ya kifalsafa (Afrocentrism). Kwa namna hii, inaonekana kwa uwazi kwamba utungaji wa tenzi ni njia muhimu sana ya kueleza falsafa ya kisiasa na ya kihistoria katika utamaduni wa Kiswahili. Njia hii inalingana na njia nyinginezo: mawazo hayohayo yanaelezwa vilevile katika vitabu vya kitaaluma (kwa mfano, vitabu vya Mwalimu Nyerere kuhusu ujamaa), katika riwaya, au katika ushairi wa aina nyingine (kama vile mashairi, ngonjera, n.k.). Tenzi nyingine za hili kundi la ‘tenzi za Uhuru’ zinaakisi vilevile falsafa za aina nyingine, ikiwemo falsafa ya kidini inayotokana na dini ya Uislamu au falsafa ya ‘utu’, ambayo ina mizizi mirefu sana katika tamaduni nyingi za Afrika. Kwa kumaliza, makala yanasisitiza kwamba, tukipenda kufahamu ‘falsafa ya Kiafrika’ ni nini, ni lazima tutazame njia zilizoko na vyombo vilivyoko katika tamaduni za Kiafrika vya kuelezea dhana na thamani, bila ya kutarajia kwamba njia hizo na vyombo hivyo vitakuwa vilevile au vitafanana kimsingi na vyombo vya kawaida vya kuelezea falsafa katika tamaduni za Magharibi (yaani maandishi ya kitaaluma kuhusu falsafa). Ushairi ni njia mojawapo, tena muhimu sana, ya kueleza mawazo ya kifalsafa katika utamaduni wa Kiswahili, lakini ziko na njia nyingine, kama vile maelezo ya taaluma mbalimbali na tanzu nyingi za fasihi na sanaa, ambazo inafaa zitambulikane na ichambuliwe katika fani ya falsafa.

For the past 150 years studies on Kiswahili language, literature and culture have engaged the scholarly attention of many researchers (Hauner 1979. In their analyses of Kiswahili literary works, however, most critical studies have, generally, tended to neglect the aspect of artistic design. Instead, the central focus has primarily been on two interlocking aspects of these works: (1) their content, values or thematic messages and (2) their cultural and socio-historical contexts (Dorsey 1988). This widespread tendency to undervalue the importance of artistic design in Kiswahili literary works is not surprising as it was largely promoted by some of the earlier European authorities who popularised the idea that Kiswahili literature `is not of literary interest´ and `that social, cultural, and historical commentary by anthologists are more relevant to this literature than literary study´ (Biersteker and Plane 1989:451). It is encouraging to see, however, that in recent years more and more scholars, like Mlamali (1980), Fiedel and Shariff (1986), Biersteker (1991) and Mbele (1996), to mention but a few, address issues of artistic design in their critical appraisals of Kiswahili literary works. This article is a modest attempt to follow their example by looking at Utenzi wa Shujaka as an object of design; how the poet has used the technical instruments of verbal craftsmanshjp in his bid to elicit an aesthetic response from his audience.

Kasida ya Hamziyyah, yumkini, ndiyo tafsiri ya Kiswahili ya zamani zaidi. Kiswahili kilichotumiwa katika ukawafi huu kimechakaa sana hata maneno mengine hayatumiki tena. Hii ni kasida ambayo ni maarufu sana katika ulimwengu wa fasihi na dini ya Kiislamu na Waswahili huikariri wakati wa sherehe za Maulidi ya Nabii Muhammadi au wanapocheza Twari la Ndiya. Kasida hii ya Hamziyah pia hujulikana kama Chuo cha Hamziyah au Utenzi wa Hamziyah. Kasida ya Hamziyyah ilitafsiriwa kutoka kwa Kiarabu na Sayyid Aidarus bin Athumani bin Sheikh Abubakar bin Salim hapo mwaka wa 1652b. Pamoja na kuinukuu kwa hati za Kirumi nimebawibu Hamziyah katika sehemu mbalimbali, kulingana na maudhui yake, ili iweze kusomeka kwa urahisi na iweze kuwavutia wasomaji. Katika miswada ya Kiswahili niliyoipata, mswada mmoja una ubeti mmoja zaidi.

The diploma thesis "The theme of love in the poetry of the Generation of '27" provides an interpretation of the motif of love in the work of three poets of this formation: Vincente Aleixandre, Pedro Salinas, and Luis Cernuda. It focuses on the collections of poems from the period of the "rehumanization" of Spanish poetry where "to rehumanize" is to return to the subject of love. The authors highlight the correlation of love and poetry as a means to overcome solitude of an individual and to relate to another or to the world. The influence of surrealism on the work of Vincente Aleixandre and Luis Cernuda has been outlined. Moreover, a thesis claiming that the "rehumanization" happened only under the influence of the surrealist movement has been refuted, which is illustrated on the lyric love poems of Pedro Salinas. The work attempts to show that even in this period the elements of pure, "dehumanized" poetry were not completely eliminated. In the work of Vicente Aleixandre, love is characterized as a cosmic force, which rules the whole world - it destroys, reforms and interlinks all. An emphasis is given on the corporeal nature of such love and the interconnection between erotism and the artistic process. In the work of Pedro Salinas, the motif of love is interpreted as a story of two people realized...

Contemporary Swahili poetry is developing according to three main trends. The followers of the first trend - the so called "traditionalists" - stick to classic forms of old Swahili poetry. Following the Swahili canon of versification, traditionalists continue to be within the limits of two main genres of old Swahili literature - tendi (long poems) and mashairi (moderate lyrics and philosophical verses). In Swahili poetry foregoing sudden changes were marked by the appearance of a group of young authors on the poetic stage in the 1970s, who gave a dare to tradition. Their venture radically changed the character of Swahili literature, marking the appearance of the second trend of Swahili poetry, the \\\"new\\\" or \\\"modernistic\\\" poetry. But along with traditional and \\\"modernistic\\\" schools there exists a third trend of Swahili poetry - it is that sort of versification, which one may call \\\"transitional\\\". In general it looks lile pure \\\"modernism\\\", where at first sight one cannot see even the faintest resemblance with the traditional canon, but the more careful search makes it obvious that there is a true continuity between traditional and contemporary art. The best examples of such transformation are the poems of two prominent figures of contemporary Swahili poetry, the Tanzanians Theobald Mvungi and Said Ahmed Mohamed.

In old Swahili tendi and homiletic poems about 50% of vocabulary is of Arabic origin (Bertoncini 1973), and besides single words, they include noun phrases or even whole Arabic sentences. In order to prove my point, I will discuss some verses taken from the Utendi wa Shujaka by one Hasan bin Ali from Lamu. The only extant manuscript of this epic poem in 295 stanzas was brought to Germany in 1854 by Ludwig Krapf and is kept in the Library of the Orientalistic Society in Halle. The poem is written in the Lamu dialect with many archaic features, like the incomplete palatalization of KI, the demonstratives in S- and others. But what is striking is the great amount of Arabic phrases and whole sentences, to the extent that we may perhaps speak of a case of code-switching. In fact, several verses of the poem cannot be understood properly without some knowledge of the main features of Arabic grammar, such as verb conjugation (both perfective and imperfective), verb forms (or classes), active and passive participles, noun inflection (masculine and feminine, broken plurals, construct state), personal, relative and possessive pronouns, prepositions and their combination with enclitic pronouns, numerals, conjunctions and particles, as well as word order.

Sanaa ya ushairi inajisawiri kama nyenzo muhimu katika maendeleo na ukuaji wa binadamu ulimwenguni. Ujenzi wa taswira zinazowasilisha mada nyeti za kijamii ni changamoto ya kiusanii inayoibua maswala tata. Ndiposa wasilisho hili linachunguza mjadala wa usawiri wa mwanamke katika ushairi wa kisasa. Mada nyingi zinazohakiki matini za kishairi hulenga miuundo, mitindo na maswala mengineyo ya kijamii bila kuangazia swala la utata wa mwanamke. Uzingatifu wa vipengee hivi umefifisha uangafu wa taswira ya mwanamke katika ushairi wa Kiswahili kana kwamba ushairi umempuuza mwanamke kama mhusika mkuu. Tunachukulia kwamba matini za kishairi za kisasa zinahusisha mbinu na nyenzo mpya ambazo zimebadilisha sura na taswira ya mwanamke. Maswali yanayoibuka ni; Je, Mwanamke angali tata katika ushairi wa kisasa kwenye enzi ya karne ya ishirini na moja? Je, umbo jipya la mwanamke ni lipi katika ushairi wa kisasa?