標(biāo)題: Titlebook: African Battle Traditions of Insult; Verbal Arts, Song-Po Tanure Ojaide Book 2023 The Editor(s) (if applicable) and The Author(s), under ex [打印本頁(yè)] 作者: Indigent 時(shí)間: 2025-3-21 17:03
書(shū)目名稱African Battle Traditions of Insult影響因子(影響力)
書(shū)目名稱African Battle Traditions of Insult影響因子(影響力)學(xué)科排名
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書(shū)目名稱African Battle Traditions of Insult網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱African Battle Traditions of Insult被引頻次
書(shū)目名稱African Battle Traditions of Insult被引頻次學(xué)科排名
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書(shū)目名稱African Battle Traditions of Insult年度引用學(xué)科排名
書(shū)目名稱African Battle Traditions of Insult讀者反饋
書(shū)目名稱African Battle Traditions of Insult讀者反饋學(xué)科排名
作者: Gentry 時(shí)間: 2025-3-21 22:59
Book 2023in Africa. Almost everywhere there are contemporary manifestations of the more traditional, older genres. The book is thus made up of studies of contests in which rivals duel for supremacy in verbal arts, song-poetry, and performance as they display their wit, sense of humor, and poetic expertise.?作者: 商店街 時(shí)間: 2025-3-22 01:05 作者: CURL 時(shí)間: 2025-3-22 05:40 作者: SLUMP 時(shí)間: 2025-3-22 09:33
Counterterrorism and Cybersecurityvival (as well as to eradicate undesirable qualities or deviant actions), to strengthen the psyches, and to sharpen the intellect and tongue of the members of a community to withstand the structural and physical violence to which they are subjected.作者: LAPSE 時(shí)間: 2025-3-22 16:25
Introduction,cultural practices. Recently, Akintunde Akinyemi and Toyin Falola edited . (2021). This work also has manifestations of some African oral traditions and folklore in the diaspora. This handbook of oral traditions deals with a multiplicity of oral forms.作者: Panther 時(shí)間: 2025-3-22 18:10 作者: 改變 時(shí)間: 2025-3-22 21:50
Battles, Raps, Cappin’, The Dozens: African-American Oral Traditions of Insultvival (as well as to eradicate undesirable qualities or deviant actions), to strengthen the psyches, and to sharpen the intellect and tongue of the members of a community to withstand the structural and physical violence to which they are subjected.作者: Provenance 時(shí)間: 2025-3-23 02:55
2634-5773 bal arts across a broad historical and geographical sweep.HiThis book explores the “battles” of words, songs, poetry, and performance in Africa and the African Diaspora. These are usually highly competitive,?artistic contests in which rival parties duel for supremacy in poetry composition and/or its作者: Externalize 時(shí)間: 2025-3-23 09:00
https://doi.org/10.1007/978-3-319-17244-6 history and politics but admits that “Black Atlantic culture is so massive” and goes on to say, “The history of the Black Atlantic yields a course of lessons as to . (xi, emphasis mine). He sees “artistic expression” as “the means towards both individual self-fashioning and communal liberation” (40作者: Osteons 時(shí)間: 2025-3-23 12:33
Counterterrorism and Cybersecurityrhobo people of Nigeria’s Delta State. It is a special kind of dance which takes place annually on an appointed day when rival groups perform songs composed with often exaggerated materials about their opposite sides. Each of the two paired groups performs on alternate years for its rival side and l作者: 脆弱帶來(lái) 時(shí)間: 2025-3-23 16:09
Counterterrorism and Cybersecurity, as well as sociomusical drama that involves songs of insult, dance, drumming, mime, poetry, spoken forms, costume, and variety of visual icons” (It is a Great Song! 2001). He also describes it as “characterized by the spectacular, the unusual, the precarious, havoc, danger, and challenge.” Further作者: 獨(dú)行者 時(shí)間: 2025-3-23 18:24
Counterterrorism and Cybersecurityd in many African novels like . (1958)?where Okonkwo and others marry multiple wives and in plays like Wole Soyinka’s . (1963) where Baroka has many wives. Some of the consequences of polygamous marriages are jealousy and rivalry among the competitors. The co-wives articulate their appraisal of poly作者: 無(wú)能力 時(shí)間: 2025-3-24 00:59
Counterterrorism and Cybersecurityto poetry which is a monologic genre (37–38). Mikhail Bakhtin is the Russian theorist who is well known in literary circles for his theory of the novel as a polyphonic genre as opposed to the monologism of poetry. Njogu uses oral poetry from both the Kikuyu and Swahili communities to demonstrate tha作者: Obliterate 時(shí)間: 2025-3-24 04:00
Cyber Warfare: Weapon of Mass Disruptionthing how Shona women’s songs acquire their moral authority to rebuke. This study is based on purposive sampling of Shona women’s songs that repudiate socially unacceptable stereotypes. Theories of historical analysis, comparative interpretation and linguistic strategies of selving cultural voice ca作者: 搖擺 時(shí)間: 2025-3-24 06:41
Counterterrorism and Cybersecurity socio-economic class and race in the United States of America. African oral tradition and its communal prevalence, both diasporic and indigenous, were borne out of communal values and nurtured in response to colonial imposition and racial capitalist-imperialist hegemony, and the subsequent socio-ec作者: 不成比例 時(shí)間: 2025-3-24 11:58 作者: 使困惑 時(shí)間: 2025-3-24 16:35 作者: consent 時(shí)間: 2025-3-24 19:47 作者: foppish 時(shí)間: 2025-3-25 02:49 作者: reception 時(shí)間: 2025-3-25 04:51
,The Parties’ Strategies and Tactics,e abolition of slavery in Brazil (1888): the jongo, the calango, and the folia de reis. Jongo refers to a rhythm, a type of lyric and a dance whose origins are located in West Central Africa. Calango stands for a sung duel accompanied by music and a couple dance. Folia de Reis (Kings’ Folly’) is a t作者: 親愛(ài) 時(shí)間: 2025-3-25 09:55
https://doi.org/10.1007/978-3-031-54184-1epistemic recuperation as one of the most significant ways of challenging the coloniality of knowledge in our present society. Although studies have shown how Tanure Ojaide and Kofi Anyidoho draw from oral tradition in their poems, these have been situated primarily in the domain of oral continuitie作者: DOTE 時(shí)間: 2025-3-25 12:08
https://doi.org/10.1007/978-3-322-92412-4chapter is: What is it in the song that so insulted the officials of the Mnangagwa administration to resort to banning the song? In addition, as these adversarial politics play out in the public sphere, what is the current status of the relationship between the state and independent artists in Zimba作者: CIS 時(shí)間: 2025-3-25 16:48 作者: 讓你明白 時(shí)間: 2025-3-25 20:00 作者: thwart 時(shí)間: 2025-3-26 02:28
https://doi.org/10.1007/978-3-031-15617-5African diaspora; Black performance; Verbal arts; Poetry performance; Spoken word; Urhobo; Ewe; Battle rap; 作者: offense 時(shí)間: 2025-3-26 08:15
978-3-031-15619-9The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: Assignment 時(shí)間: 2025-3-26 09:41
Tanure OjaideExplores the “battles” of words, songs, poetry, and performance in Africa and the African Diaspora.Shows the evolution of these Africana verbal arts across a broad historical and geographical sweep.Hi作者: 名詞 時(shí)間: 2025-3-26 14:38 作者: COM 時(shí)間: 2025-3-26 20:40 作者: 灌溉 時(shí)間: 2025-3-26 23:17 作者: legislate 時(shí)間: 2025-3-27 03:28 作者: HAIL 時(shí)間: 2025-3-27 06:10 作者: 滔滔不絕的人 時(shí)間: 2025-3-27 13:21
and ,: The Tradition of Verbal Warfare in Swahili Literatureto poetry which is a monologic genre (37–38). Mikhail Bakhtin is the Russian theorist who is well known in literary circles for his theory of the novel as a polyphonic genre as opposed to the monologism of poetry. Njogu uses oral poetry from both the Kikuyu and Swahili communities to demonstrate tha作者: lipoatrophy 時(shí)間: 2025-3-27 14:45 作者: 物質(zhì) 時(shí)間: 2025-3-27 18:44 作者: Cougar 時(shí)間: 2025-3-28 01:23 作者: 死亡率 時(shí)間: 2025-3-28 04:01
Battle Rap: An Exploration of Competitive Rhyming in Hip Hop970s, hip hop started in local parks but grew in popularity, leading to commercial success for many musicians. Now, artists receive record contracts, play in concert venues, and appear on audio streaming and digital platforms such as SoundCloud. Nevertheless, the practice of “battling” or engaging i作者: Emg827 時(shí)間: 2025-3-28 10:10
Fighting Words: Songs of Conflict, Censure, and Cussout in Trinidad and Tobago Carnivalarnival is a provenance for cultural affirmation, reformation, transgression, fusion, and recreation. Trinidad and Tobago’s Carnival is the location of calypso, mas’ (masking), stickfight, and performance poetry, to name the major ones. In each of these art forms, verbal dexterity is either at its c作者: Firefly 時(shí)間: 2025-3-28 14:04
Oral Tradition and Cultures in Dialogue: , and hree and a half million enslaved Africans throughout the nearly 300-year period of the slave trade to Brazil, and the influence and legacy of the coffee plantations in the Paraíba Valley region of Brazil on the new form of battle poetry tradition, ., which blossomed due to/despite the harsh reality 作者: Feedback 時(shí)間: 2025-3-28 16:19 作者: 摸索 時(shí)間: 2025-3-28 19:35
Epistemic Recuperation and Contemporary Reconfiguration of the Verbal Battle Tradition in the Poetryepistemic recuperation as one of the most significant ways of challenging the coloniality of knowledge in our present society. Although studies have shown how Tanure Ojaide and Kofi Anyidoho draw from oral tradition in their poems, these have been situated primarily in the domain of oral continuitie作者: MUT 時(shí)間: 2025-3-29 02:28
The Creativity of Abuse: Power, Song and the ‘Authority of Insults’ in Zimbabwean Music, Post 2017chapter is: What is it in the song that so insulted the officials of the Mnangagwa administration to resort to banning the song? In addition, as these adversarial politics play out in the public sphere, what is the current status of the relationship between the state and independent artists in Zimba作者: 流動(dòng)才波動(dòng) 時(shí)間: 2025-3-29 06:00 作者: 脾氣暴躁的人 時(shí)間: 2025-3-29 10:19 作者: 脖子 時(shí)間: 2025-3-29 13:36
Battle by All Means: Udje as Oral Poetry and Performancer transcription and translation into English with comments, udje study has advanced into theoretical dimensions in the twenty-first century. One such essay is Ojaide’s “Michel Foucault and the Urhobo Udje oral poetic tradition: madness, power, and resistance” in his . (8–18) on the Foucauldian natur作者: 刪減 時(shí)間: 2025-3-29 17:15 作者: acolyte 時(shí)間: 2025-3-29 22:49 作者: 極大痛苦 時(shí)間: 2025-3-30 02:49 作者: CARE 時(shí)間: 2025-3-30 05:26 作者: MOAN 時(shí)間: 2025-3-30 11:55 作者: 慟哭 時(shí)間: 2025-3-30 12:31 作者: AMEND 時(shí)間: 2025-3-30 16:50
Oral Tradition and Cultures in Dialogue: , and fee plantation in the Paraíba Valley of Brazil, and the decision of the Brazilian Institute of Historic and Artistic National Patrimony to name . as a National Cultural Patrimony, this chapter aims to contribute to current research by taking a Trans-Atlantic and comparative approach to analyzing thi作者: CHECK 時(shí)間: 2025-3-30 22:24 作者: Acclaim 時(shí)間: 2025-3-31 03:24 作者: FADE 時(shí)間: 2025-3-31 07:55
The Creativity of Abuse: Power, Song and the ‘Authority of Insults’ in Zimbabwean Music, Post 2017 to determine how songs of abuse demarcate contestants in the context of power struggles. I argue that the creativity of abusive language in Zimbabwean songs bestows authority to insult others during performance and through songs’ inclination to caricaturise excess, rebuke individual foibles and cen作者: 舞蹈編排 時(shí)間: 2025-3-31 10:39
Bongo Fleva: Its Lyrics, “Inappropriate” Content, Source, and Possible Harmes, which is not the prototype of love relations. The findings thus constitute a baseline for further studies such as the perlocution of the lyrics on listeners. It also forms the basis for managing the music to serve its ideal functions of entertainment, education, and as a forum of the masses.作者: 裂隙 時(shí)間: 2025-3-31 15:27
Counterterrorism and Cybersecurityr transcription and translation into English with comments, udje study has advanced into theoretical dimensions in the twenty-first century. One such essay is Ojaide’s “Michel Foucault and the Urhobo Udje oral poetic tradition: madness, power, and resistance” in his . (8–18) on the Foucauldian natur作者: VOC 時(shí)間: 2025-3-31 19:31 作者: locus-ceruleus 時(shí)間: 2025-3-31 22:01 作者: 繼承人 時(shí)間: 2025-4-1 02:33 作者: synovial-joint 時(shí)間: 2025-4-1 08:36
Targeting by Transnational Terrorist Groupsembraced. In the twenty-first century stepping has grown to be a global movement performed by all ages. Recent iterations of stepping portrayed in popular culture reflect its fusion with hip-hop, its incorporation into drill teams, school and church competitions igniting concern that the commerciali
