Ethnic poetry

[zazaoo]

السلام عليكم
الله يعطيكم العافيه
عندي بحث وحبيت تساعدوني فيه

عن
اللي هو الشعر المشترك زي الشعر الأمريكي الأفريقي
أو اللاتيني الأمريكي أو حتى العربي الأمريكي
زي قصيدة We real cool و Balled of Birmingham]

و أيضا نبذة عن Afrecan Amircan poetry
أو Latin American poetry
وقصيدة من هذا النوع وعناصرها
وجزاكم الله خير

[ܟjust E]

و عليكم السلآم و رحمة الله ~..

هنآ نبذهـ عن الشعر الأمريكي الأفريقي مع أهم شعرآء هآلشعر :

African American Poetry

African American Poetry contains nearly 3,000 poems by African American poets of the eighteenth and nineteenth centuries. It provides a comprehensive survey of the early history of African American poetry, from the earliest published African American poems to the works of Paul Laurence Dunbar, the first African American poet to achieve national success and recognition.

The authors and works included in the collection show the huge variety of this relatively unexplored area of American literary history: coverage includes writers from both North and South, from rural and urban backgrounds, and ranges from University-educated professionals to those for whom the very acts of reading and writing constituted a defiance of Southern slave laws. Generically, poems range from ballads, broadsides and humorous verse to Romantic odes, sonnets and historical epics.

Important authors include:

Lucy Terry Prince (1730–1821), an African-born slave whose one surviving ballad, 'Bars Fight'', is the first known poem by an African American. It describes an Indian raid on Massachusetts settlers in 1746, and was not published until 1855.
Phillis Wheatley (1753?–1784), who was abducted from West Africa and sold as a slave in Boston, and went on to become one of the major American poets of the Colonial period. Wheatley showed prodigious intelligence as a young woman, and her volume Poems on Various Subjects, Religious and Moral (1773) made her only the second American woman to publish a volume of poetry.
Jupiter Hammon (1711–1800?), whose poems, such as 'The Kind Master and Dutiful Servant', advocated Christian piety and loyal servitude.
George Moses Horton (1797?–1883?), author of The Hope of Liberty (1829), the first book published in the South by an African American; his works show a new candour and defiance in their depiction of the indignities and outrages of slavery.
Frances Ellen Watkins Harper (1824–1911), a free woman from Baltimore who campaigned for the abolition of slavery and for women's rights. Her powerful descriptions of the experience of slavery include 'Bury Me in a Free Land', 'The Slave Auction', and 'The Slave Mother, a Tale of the Ohio', which is based on the same real-life events as Toni Morrison's novel Beloved.
James Monroe Whitfield (1822–1871), a regular contributor to abolitionist journals, whose ironic and accusatory poems such as 'The Misanthropist' and 'America' anticipate the Black nationalism of later generations.


و هنـآ مثــآل لهآلشعر " قصيدهـ لـ Rita Dove

Golden Oldie

I made it home early, only to get
stalled in the driveway-swaying
at the wheel like a blind pianist caught in a tune
meant for more than two hands playing.
The words were easy, crooned
by a young girl dying to feel alive, to discover
a pain majestic enough
to live by. I turned the air conditioning off,
leaned back to float on a film of sweat,
and listened to her sentiment:
Baby, where did our love go?-a lament
I greedily took in
without a clue who my lover
might be, or where to start looking.

بـآلتووفيــــــــــــــــ ق ~..

[zazaoo]

الله يسعدك و يوفقك يارب
شكرا لك
وجزاك الله خير

[gothika]

بسم الله الرحمن الرحيم

ياحبايبي الله يخليكم محتاجه مساعدتكم ابغى عن latin american ethnic literature&poetry

[ناصر الدياني]

In “Ballad of Birmingham,” Dudley Randall illustrates a conflict between a child who wishes to march for civil rights and a mother who wishes only to protect her child. Much of this poem is read as dialogue between a mother and a child, a style which gives it an intimate tone and provides insight to the feelings of the characters. Throughout the poem the child is eager to go into Birmingham and march for freedom with the people there. The mother, on the other hand, is very adamant that the child should not go because it is dangerous. It is obvious that the child is concerned about the events surrounding the march and wants to be part of the movement. The child expresses these feelings in a way the appears mature and cognizant of the surrounding world, expressing a desire to support the civil rights movement rather than to “go out and play.” The desire to no longer be seen as a child and have her voice heard by those being marched against and by her mother (who can also be seen as an oppressive form of authority in this poem) is expressed by the first few lines. The opinion of the child is much like that of all young people who want to fight for their freedom.

The mother, however, refuses to acknowledge the child as anything but a child is a major conflict in this poem. Because she refers to her as “child” and calls her “baby,” it is clear that the mother does not take the child’s pleas seriously. The mother is certain that she knows what is best for her child and that the child’s feelings and ideas are unimportant. The way that she brushes off the child’s request with a statement of how the march is not “good for a little child” shows the mother’s inability to see her daughter’s desire to go march as anything more than a childish fancy. The mother’s attitude toward the march is an unreasonable fear for her child’s safety, a state of mind that alludes to her detachment from the events and opinions that fuel the march. When compared to that of the child, the mother’s approach to the march is that of one who is uninformed and unconcerned.

The mother’s detachment and idealism lead her to believe that...







“Mother dear, may I go downtown
Instead of out to play,
And march the streets of Birmingham
In a Freedom March today?”

“No, baby, no, you may not go,
For the dogs are fierce and wild,
And clubs and hoses, guns and jails
Aren’t good for a little child.”

“But, mother, I won’t be alone.
Other children will go with me,
And march the streets of Birmingham
To make our country free.”

“No, baby, no, you may not go,
For I fear those guns will fire.
But you may go to church instead
And sing in the children’s choir.”

She has combed and brushed her night-dark hair,
And bathed rose petal sweet,
And drawn white gloves on her small brown hands,
And white shoes on her feet.

The mother smiled to know her child
Was in the sacred place,
But that smile was the last smile
To come upon her face.

For when she heard the explosion,
Her eyes grew wet and wild.
She raced through the streets of Birmingham
Calling for her child.

She clawed through bits of glass and brick,
Then lifted out a shoe.
“O, here’s the shoe my baby wore,
But, baby, where are you?”