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Journal articles on the topic 'African prose'
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1
Casimir, Komenan. "Chinua Achebe’s Things Fall Apart: A Seminal Novel in African Literature." Studies in Linguistics and Literature 4, no. 3 (June 27, 2020): p55. http://dx.doi.org/10.22158/sll.v4n3p55.
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Achebe’s Things Fall Apart is an influential novel in African literature for three reasons. First, it is a novel meant to promote African culture; second, it is a narrative about where things went wrong with Africans; and third, it is a prose text which contributed to Achebe’s worldwide recognition. It contains Achebe’s rejection of the degrading representation of Africans by European writers, and fosters Africa’s traditional values and humanism. The excesses of Igbo customs led the protagonist to flagrant misuse of power. The novel’s scriptural innovations bring fame to Achebe who is considered as the “Asiwaju” (Leader) of African literature, the “founding father of African fiction”, or again the “Eagle on Iroko”.
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Kotlerman, Ber. "SOUTH AFRICAN WRITINGS OF MORRIS HOFFMAN: BETWEEN YIDDISH AND HEBREW." Journal for Semitics 23, no. 2 (November 21, 2017): 569–82. http://dx.doi.org/10.25159/1013-8471/3506.
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Morris Hoffman (1885-1940), who was born in a Latvian township and emigrated to South Africa in 1906, was a brilliant example of the Eastern European Jewish maskil writing with equal fluency in both Yiddish and Hebrew. He published poetry and prose in South African Yiddish and Hebrew periodicals. His long Yiddish poem under the title Afrikaner epopeyen (African epics) was considered to be the best Yiddish poetry written in South Africa. In 1939, a selection of his Yiddish stories under the title Unter afrikaner zun (Under the African sun) was prepared for publishing in De Aar, Cape Province (which is now in the Northern Cape Province), and published after his death in 1951 in Johannesburg. The Hebrew version of the stories was published in Israel in 1949 under the title Taḥat shmey afrikah (Under the skies of Africa). The article deals with certain differences between the versions using the example of one of the bilingual stories. The comparison between the versions illuminates Hoffman’s reflections on the relations between Jews and Afrikaners with a rather new perspective which underlines their religious background
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Murray, Jeffrey. "Homer the South African." English Today 29, no. 1 (February 27, 2013): 58–61. http://dx.doi.org/10.1017/s0266078412000521.
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When reviewing a much-translated canonical text such as Homer's Iliad, it has become something of a topos to question the need for yet another translation of it. In the twenty-first century alone, Homer's Iliad has benefited from at least six published English translations already: Rodney Merrill (2007), Herbert Jordan (2008), Anthony Verity (2011), Stephen Mitchell (2011), Edward McCrorie (2012) and James Muirden (2012). Richard Whitaker adds his translation to the list with a slight variation on the standard Anglo-American English translations already available, presenting his readers instead with a ‘Southern African English’ version. With such a variety of Standard English prose and poetic translations already on offer, is there really a need for yet another Iliad? Will the novelty of its subtitle, as a ‘Southern African English’ Iliad, justify its publication, and what will prevent it from being judged merely as a postcolonial curiosity?
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Ufot, Bassey, and Idara E. Thomas. "The English Language and Afro Saxons: A Systemic Study of the Communicative Qualities of a Selection of African Prose Passages." Theory and Practice in Language Studies 6, no. 3 (March 21, 2016): 463. http://dx.doi.org/10.17507/tpls.0603.03.
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This paper studies the discourse strategies and communicative potential of the English language in a selection of Afro Saxon prose passages. The term ‘Afro Saxons’ was first coined by Kenyan scholar, Ali Mazrui, in 1975, by analogy with ‘Anglo Saxons’, to refer to the linguistic phenomenon in which the English language is increasingly becoming the ‘first language’ functionally of a great many black and African people. This study, therefore, enlarges upon this concept and undertakes to elaborate on the ways in which the communicative and expressive possibilities of English are exemplified in a selection of some of the most lyrical and dramatic prose extracts by some African writers. Mounted upon the theoretical platforms of Mazrui, and Halliday’s systemic functional grammar (SFG) with its contextual parameters of the ideational (field), interpersonal (tenor) and textual (mode) metafunctions, the research appraises the attitudes to the increasing global status of English. Then employing two Anglo Saxon prose passages as the control, it investigates in some detail the organic configurations of discourse such as transitivity, mood, thematic structure, cohesion and coherence in passages from Armah, Achebe and Soyinka, and concludes that, based on the effective use of the figurative and expressive metafunctions of the language, these authors may indeed be referred to as Afro Saxons.
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Antwi, Emmanuel. "AFRICA'S DIRGE: THE ILLUSION OF SOLUTIONS TO THE NATIONS?" JOURNAL OF ADVANCES IN HUMANITIES 4, no. 2 (December 9, 2016): 431–42. http://dx.doi.org/10.24297/jah.v4i2.1299.
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Over the centuries, the theatrical and pretentious activities of African Political leaders have culminated in the evolution of a thick skin of carelessness and indifference guided by fuzzy and visionless eyes that stare hopelessly into the future. It is certainly difficult now to determine what could stair her to realize her precarious situation and act. Time and again African nations have proven unable to solve petty problems, thoughtless of managing weightier matters of the current century, while her keen and expectant citizens behold, distressed with disillusion and frustration. Employing a constructivist paradigm the studyfocuses onthe works of artists whose works reference issues of the continent of Africa, as means to lambast satirize and chastise her to wake up. The work is organised on the basis of Stream - Write,a qualitative method of research through art that share qualities of prose, poetry and drama to benefits from the expressive qualities available in same, and to allow for the liberty needed in exploring the domain of the intuitive, creative and sometimes illogical writing impulse. From all historical indications I submit in conclusion that indeed Africa is gleefully willing and hopeful to embrace an end far worse than her most dreadful past.
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Oripeloye, Henri. "Postmodernist Mythic Sexual Narratives in Zakes Mda’s The Whale Caller." Matatu 48, no. 1 (2016): 49–60. http://dx.doi.org/10.1163/18757421-04801005.
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Zakes Mda’s The Whale Caller is easily identifiable as a narrative that projects the newness of South Africa in terms of literary transition. The radical shift in this novel resides in its preoccupation with the excessive passion a man has for a whale and this interest creates an unusual space for this work in contemporary African fiction; its mapping of perverted sexuality clearly sets it outside the mainstream of African prose narrative. In the universe of this socio-cultural text, the actions, characters, and signifiers are constructed to reflect a stasis of frustration or disjunction in the apprehension of psycho-social forces that favour the dismantling of cultural expectations that sexuality be recognized as sacrosanct. This essay focuses on postmodernist mythical expression in The Whale Caller, which is used to valorize the process of cultural rupture. With intense self-reflexivity, Mda sends signals about the cultural and ecological stultification characterizing the new South Africa. The Whale Caller underpins two realms of readability; its tragic tones point, on the one hand, to the neglect of ecological concerns. In the other realms of meaning, the Whale Caller as a defamiliarizing object becomes a metaphorization of cultural transformation.
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Yetunde, Pamela Ayo. "Audre Lorde’s Hopelessness and Hopefulness: Cultivating a Womanist Nondualism for Psycho-Spiritual Wholeness." Feminist Theology 27, no. 2 (January 2019): 176–94. http://dx.doi.org/10.1177/0966735018814692.
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The late black American feminist lesbian poet Audre Lorde (1934–1992) was known in feminist communities in the United States, Europe, Africa, the Caribbean, and elsewhere for her poetry and prose about how to survive various forms of oppression. Though Lorde authored many political and spiritual poems and essays (including psychological topics) in her adulthood, little has been written about Lorde’s early psycho-spiritual spiritual journey from Catholicism to I Ching, which informed her adult integrated African spirituality, which in turn informed her political and social consciousness. Lorde’s poems to God, written during puberty and post-puberty, and her embrace of I Ching nondualism, provides insight into how Lorde understood the psycho-spiritual challenges of surviving through hopelessness and despair, and into confidence and hopefulness.
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Moore, Jeania Ree V. "African American Quilting and the Art of Being Human: Theological Aesthetics and Womanist Theological Anthropology." Anglican Theological Review 98, no. 3 (June 2016): 457–78. http://dx.doi.org/10.1177/000332861609800302.
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In her collection In Search of Our Mothers’ Gardens: Womanist Prose (1983), Alice Walker explores how African American women preserved and passed down a heritage of creativity and beauty in spite of brutality. I argue in this essay that African American quilting forms a revelatory subject for the womanist project taken up by theologians. As both symbol for and implementation of the creative practice Walker heralds, quilting unearths aesthetics as vital to being human. Theologically rendered, quilting unfolds theological aesthetics for and with womanist theological anthropology. Theologically engaging historical, literary, and personal narrative, I show how womanism and quilting enrich theological conceptions of aesthetics and personhood.
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Syed, Amir. "Poetics of Praise: Love and Authority in al-ḤājjʿUmar Tāl’s Safīnat al-saʿāda li-ahl ḍuʿf wa-l-najāda." Islamic Africa 7, no. 2 (November 2, 2016): 210–38. http://dx.doi.org/10.1163/21540993-00702004.
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In this article, I provide one example of how a careful engagement with poetry can enrich our understanding of West African history. In 1852, al-ḤājjʿUmar Fūtī Tāl (d.1864) completed his panegyric of the Prophet Muḥammad—Safīnat al-saʿāda li-ahl ḍuʿf wa-l-najāda or The Vessel of Happiness and Assistance for the Weak. Through an analysis of Safīnat al-saʿāda, I explain Tāl’s creative use of two older poems that were widespread in West Africa—al-ʿIshrīniyyāt—The Twenties—of ʿAbd al-Raḥmān al-Fāzāzī (d. 1230), and its takhmīs (pentastich) by Abū Bakr ibn Muhīb (n.d.). Though Safīnat al-saʿāda was primarily meant for devotion, it also reflected Tāl’s scholarly prestige and claims he made about his religious authority. In the long prose introduction to the poem, Tāl claimed that he was a vicegerent of the Prophet, and therefore had authority to guide and lead the Muslims of West Africa. His composition of Safīnat al-saʿāda was partly meant to prove this point.
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Reddy, Vanita. "Femme Migritude." Minnesota review 2020, no. 94 (May 1, 2020): 67–84. http://dx.doi.org/10.1215/00265667-8128421.
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This article examines the queer feminist Afro-Asian poetics and politics of spoken word and performance artist Shailja Patel’s 2006 onewoman show and 2010 prose poem, both titled Migritude. Patel’s migritude poetics resonates with and departs from much contemporary migritude writing, particularly with respect to the genre’s focus on a global-North-based, black Atlantic African diaspora. The article draws attention to a “brown Atlantic,” in which Africa is the site both of diaspora and of homeland. More important, it shows that Patel’s queer femininity unsettles a diasporic logic of racial exceptionalism. This logic aids and abets a (black) native/(South Asian) migrant divide in colonial and postcolonial Kenya. Patel’s femme migritude, as I call it, draws on nonequivalent histories of black and Asian racialized dispossession to construct a mode of global-South, cross-racial political relationality.
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Aiello, Flavia. "La memoria coloniale nella narrativa swahili contemporanea." Annali Sezione Orientale 76, no. 1-2 (November 28, 2016): 102–23. http://dx.doi.org/10.1163/24685631-12340005.
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The memory of the colonial experience is a recurrent topic in the Swahili prose produced after the independencies. The present article investigates how East African writers creating in the Swahili language reconstructed and preserved the local reminiscences of the colonial trauma, sometimes in reaction to the solicitations of the political leaders. The textual analysis is contextualised by taking into account the historical, cultural and linguistic specificities of the two countries where post-independence Swahili literature developed, namely Kenya and Tanzania.
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John, P. "Die Afrikaanse prosa, 1918 - 1926: brandpunt van die geboorte van ’n nuwe bewussyn." Literator 12, no. 2 (May 6, 1991): 107–20. http://dx.doi.org/10.4102/lit.v12i2.765.
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This study looks at a selection of Afrikaans prose texts from the period 1918 to 1926 in an attempt to establish a relation between the rapid industrialisation which South Africa was being subjected to and the literature produced during this time. Georg Lukács’ argument that "nature is a social category" is used to show that a preoccupation with certain desires and emotions with which these texts are marked is an indication that a massive intervention into ‘nature’, in the form of the emotional lives of especially white Afrikaans workers, was either on the way or being proposed through the medium of literature during this time. This intervention is seen as part of an attempt by the white Afrikaans ruling class to draw Afrikaans workers into its fold in its struggle for political power. A contiguous concern of the study is to propose this kind of approach as a basis for the study of South African literature as a whole.
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Ismail, Khaleel Bakheet Kh, and Yasir Arafat Mahfouz. "A Tussle for Decolonization of the Mind: Representation of the Whiteman in “A Grain of Wheat”." Journal of Education and Culture Studies 2, no. 3 (June 11, 2018): 105. http://dx.doi.org/10.22158/jecs.v2n3p105.
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<p><em>The main aim of this paper is to critically examine the representation of the Whiteman (the colonizer) in the African prose narrative context and Ngugi wa Thiong’o’s “A Grain of Wheat” specifically. The thrust has emerged from the main concepts of the binary opposites postulated by the critic Franz Fanon regarding the relationship between the colonizer and the colonized. Hence, the postcolonial theory is adopted as a literary analytical theoretical framework in this paper, for it works as a boundary line that explicates such texts. Via a close analysis of the selected text based on the tenants of postcolonialism, orientalism, Occidentalism its concluded that A Grain of Wheat is one of the literary texts that represents African elites’ tussle for decolonizing the mind. </em></p>
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MUNTON, ALAN. "Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz Critics." Journal of American Studies 31, no. 2 (August 1997): 235–51. http://dx.doi.org/10.1017/s0021875897005653.
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Toni Morrison's fiction, we have been repeatedly told, embodies features taken from jazz. Her books have a “jazzy prose style,” express a “jazz aesthetic,” or are “literary jazz.” Critics propose that jazz riffs can be found in her writing, and that she improvises in prose in a manner comparable to an improvising jazz musician. None of this seems to me to be true. To establish a relationship between music and prose fiction would be difficult under any circumstances. It is all the more difficult when the critics concerned show themselves to be unaware of the basic formal structures of jazz. The riff is foregrounded because it is the only feature of jazz that can be compared to prose (because both may include repetitions). It is a more serious objection that Rice, Small-McCarthy, Berrett, and others, including James A. Snead and Henry Louis Gates Jr., consistently ignore structure, harmony, and melody in favour of rhythm. The reason for this is that jazz rhythm can be traced back to its African origins, whereas structure, harmony, and melody require an engagement with European sources. Clearly, an ideology of authenticity is at work here. Yet a parallel argument is willing to relate Morrison's fiction to its European origins. For, if her novel Jazz is, as Rinaldo Walcott indicates, a rewriting of Scott Fitzgerald's version of the “Jazz Age,” then that rewriting or radical revision must occur by reference to a form – the novel – that originated in Europe and is (in the cited instance) a product of white America.
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Marais, R. "Vrouwees: perspektiewe in die meer onlangse Afrikaanse poësie en prosa." Literator 9, no. 3 (May 7, 1988): 29–43. http://dx.doi.org/10.4102/lit.v9i3.853.
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This article investigates the views on woman and womanhood that are expressed in the poetry and prose of several contemporary women writers in Afrikaans. The study is conducted against the background of certain tendencies in feminist movements in Europe, Britain and the United States of America as well as views pronounced in the writings (both literary and feminist) of a number of feminist writers in Europe, Britain and the USA. For the purposes of this investigation a short exposition is given of what feminism entails, as well as of a number of the different views and approaches which it accommodates. Subsequently different views on womanhood as expressed in the creative writings of a number of women writers who have written extensively on this topic are discussed at the hand of their poetry and prose. Specific attention is paid to the South African woman’s views on men, marriage, her own sexuality and motherhood as revealed in the writings of these women.
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Mack, Beverly. "Africa - Graham Furniss: Poetry, prose and popular culture in Hausa. (International African Library, 16.) xiv, 338 pp. Edinburgh: Edinburgh University Press, 1996. £16.95." Bulletin of the School of Oriental and African Studies 60, no. 3 (October 1997): 604–5. http://dx.doi.org/10.1017/s0041977x00033140.
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Jankowski, Jakub. "Terra sonâmbula Means Lunatyczna kraina: An Introduction to the Reception of Translated Luso-African Prose in Poland." Przekładaniec 33 (2018): 89–107. http://dx.doi.org/10.4467/16891864epc.18.004.9826.
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Dick, Angela Ngozi. "The Househelp in African Literature and Its Implication for Identity Representations: Evidence from Adichie’s Select Prose Fictions." English Linguistics Research 8, no. 3 (September 12, 2019): 35. http://dx.doi.org/10.5430/elr.v8n3p35.
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Househelps are usually boys and girls who go to live with other families to serve as domestic workers. They are usually not paid but their services are converted training them in school or in entrepreneurial empowerment. Their place in African Literature has been explored in Oyono’s Houseboy to portray colonialist policy of assimilation. In Ekwensi’s Jagua Nana’s Daughter, the househelp takes over the home as the protagonist combines the search for her mother and her carrier as a lawyer. Adichie’s prose fictions are inundated with househelps. This article probes the roles of househelps in the development of the plot and finds out that they are portrayed as human beings with rights and privileges. Such portrayal is determined by the attitude of their Masters or Madams. In Purple Hibiscus, the househelp shares in the subjugation of the family because of the harsh treatment of their father. In Half of a Yellow Sun and “Imitation”, the househelps participate in the decision making around food and emotional problems of their Masters and Madams. The author’s portrayal of the househelps brings into focus the need to accept this category of people as human beings to be valued. The literary theory that will inform the analysis of the texts is New Historicism propounded by Stephen Jay Greenbalt.
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Kulikova, Elena Yu. "Pavel Bulygin’s Abyssinian poems in the magazine “Rubezh” (Border) (Harbin, 1935–1936)." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 185–91. http://dx.doi.org/10.34216/1998-0817-2021-27-1-185-191.
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The article is devoted to the Abyssinian poems by Pavel Bulygin, a poet and a prose writer who left Russia after the revolution, whose poems were published in Harbin weekly “Rubezh” (Border) (1935–1936). Exotic motives are analysed in the poet's work, for whom, following Nikolay Gumilyov, Africa became a “guiding star”: Bulygin's collection of poems “Alien Stars” is dedicated to Abyssinia – the name of the cycle clearly refers to Gumilyov's “Alien Sky”. Special attention is paid to the May issue of “Rubezh” (1936), where Bulygin’s five poems from the cycle “Alien Stars” were published under the general title “The poems about Abyssinia”. These texts are considered as a microcycle, united thematically – Bulygin's poetic bestiary is described, focused on Gumilyov in many respects; the literary nature of the poet's affection to African travels is noted not only through Gumilyov’s lyrics, but also through James Fenimore Cooper and Jack London’s adventure novels; it is pointed out that the poet uses the technique of “imaginary” ekphrasis, when instead of a really existing picture, his own one is recreated – poetic and as if picturesque at the same time. In addition to the publication in the May issue of “Rubezh” in 1936, there are Bulygin’s works, published in Harbin weekly in 1935 (“Saw Gin” (“Hyena-Man”), “Russian in Abyssinia”, “From a heated red stone...”). Immersion in African topos, warmed for Bulygin by Gumilyov's poetry and travels, helps the emigrant poet escape from loneliness, anguish and nostalgia.
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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.
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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a portrait of African American religiosity that was constantly “classical” and static—not quite primitive, but never appreciated as a modern aspect of black culture.This article examines several Ellington compositions from the late 1920s through the 1960s that exemplify his deployment of popular representations of African American religious belief and practice. Through the short filmBlack and Tanin the 1920s, the satirical popular song “Is That Religion?” in the 1930s, the long-form symphonic movementBlack, Brown and Beigein the 1940s, the lyricism of “Come Sunday” in the 1950s, and the dramatic prose of “My People” in the 1960s, Ellington attempted to capture a portrait of black religious practice without recognition of contemporaneous developments in black Protestant Christianity in the twentieth century's middle decades. Although existing Ellington scholarship has covered his “Sacred Concerts” in the 1960s and 1970s, this article engages themes and representations in Ellington's work prefiguring the religious jazz that became popular with white liberal Protestants in America and Europe. This discussion of religious narratives in Ellington's compositions affords an opportunity to reflect upon the (un)intended consequences of progressive, sympathetic cultural production, particularly on the part of prominent African American historical figures in their time. Moreover, this article attempts to locate the jazz profession as a critical site for the examination of racial and religious representation in African American religious history.
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MacLeod, George. "The Grotesque and Obscene in post-Cold War Africa: Mbembe and the Child Soldier Novel." Irish Journal of French Studies 20, no. 1 (November 1, 2020): 124–42. http://dx.doi.org/10.7173/164913320830841719.
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This article applies Achille Mbembe's formulations of the grotesque and the obscene to Ivorian novelist Ahmadou Kourouma's widely-read child soldier novel Allah n'est pas obligé (2000), highlighting under-examined aspects of Kourouma's prose style and political commentary. While critics have focused on the novel as a fictionalized description of a child soldier's experience in 1990s West Africa, a close reading of the text reveals Kourouma's preoccupation with the origins and composition of post-Cold War African political organization. The article reads Kourouma's use of obscenity and grotesque imagery through a Mbembian lens, revealing a continuity between the Cold-War era power structures that Mbembe describes in his essays and the post-Cold War political landscape in which the plot of Kourouma's novel plays out. By applying Mbembe's idea of 'illicit cohabitation' to Kourouma, the article reveals the transnational applicability of Mbembe's writing on the 'postcolony', while also highlighting the previously unexamined ways in which Kourouma satirizes his Western readership. Ultimately, the ability of Mbembe's terminology to reveal previously unexamined depths of a much-discussed and celebrated novel such as Allah n'est pas obligé shows the continued relevance of his thought to our understanding of contemporary Africa and the icons which mediate its image both within the continent and beyond.
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Okpala, Ebele Peace, and Tracie Chima Utoh-Ezeajugh. "Inter and intra- gender discourse in African prose: an interrogation of the female image in selected literary texts." UJAH: Unizik Journal of Arts and Humanities 19, no. 2 (November 7, 2018): 1. http://dx.doi.org/10.4314/ujah.v19i2.1.
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Rice, Alan J. "Finger-Snapping to Train-Dancing and Back Again: The Development of a Jazz Style in African American Prose." Yearbook of English Studies 24 (1994): 105. http://dx.doi.org/10.2307/3507885.
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Doody, Margaret Anne. "Shandyism, Or, the Novel in Its Assy Shape: African Apuleius, The Golden Ass, and Prose Fiction." Eighteenth-Century Fiction 12, no. 2-3 (2000): 435–57. http://dx.doi.org/10.1353/ecf.2000.0029.
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Du Toit, P. A. "Tradisie en vernuwing - Hierdie lewe van Karel Schoeman." Literator 17, no. 1 (April 30, 1996): 43–56. http://dx.doi.org/10.4102/lit.v17i1.578.
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Tradition and renewal – Hierdie lewe by Karel Schoeman Since the sixties generalizations have frequently been made regarding the difference between old (older, traditional) and new (newer, "modem") Afrikaans prose. Karel Schoeman’s novel Hierdie lewe (1993), however, shows the relativity of the dichotomy old vs. new prose. The theme of this novel is fairly traditional: a reminiscence of a life of hardship and loneliness in the South African platteland. Nevertheless the formalization of this theme is not that of the "gemoedelike lokale realisme" (a genial local realism) which N.P. van Wyk Louw referred to. The on-going process of “making strange/making unfamiliar” (Victor Shklovsky) is achieved by a specific style of writing. The novel’s merit lies in the fact that Schoeman, within the linguistic options available to him, within the focus of the chosen narrative perspective, and within the time frame of the 19th century, exhibits considerable creative mastery of the language - despite the constraints presupposed by each of these contexts. It is an outstanding achievement that Schoeman could find so many parallels and synonyms and integrate them in a diffuse but systematic way in his comprehensive novel.
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Abadiano, Helen R. "Cohesion strategies and genre in expository prose: An analysis of the writing of children of ethnolinguistic cultural groups." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 5, no. 3 (September 1, 1995): 299–324. http://dx.doi.org/10.1075/prag.5.3.02aba.
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In most societies the ability to write has become a significant criterion in judging one's "success or "failure" in becoming literate. This paper focuses on the classroom literacy practice called "writing," inasmuch as learning to write in a specific kind of way is part and parcel of children's literacy learning expectations. It is based on a study which examined cohesion patterns found in expository writing samples of sixth grade urban African American, urban Appalachian, and mainstream culture children attending a middle school in a large midwestern urban school system in the United States. This paper challenges the prevailing notion that ethnicity, social class and language variation influence the quality of writing these children produce.
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Jenkins, Elwyn. "ROY CAMPBELL’S CHILDREN’S NOVEL, THE MAMBA’S PRECIPICE." Mousaion: South African Journal of Information Studies 34, no. 2 (October 26, 2016): 83–97. http://dx.doi.org/10.25159/0027-2639/895.
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Roy Campbell’s The mamba’s precipice (1953), a novel for children, is his only prose work of fiction. This article examines three aspects of the book, namely its autobigraphical elements; its echoes of Campbell’s friendship with the writers Laurie Lee and Laurens van der Post; and its parallels with other English children’s literature. Campbell based the story on the holidays his family spent on the then Natal South Coast, and he writes evocative descriptions of the sea and the bush. The accounts of feats achieved by the boy protagonist recall Campbell’s self-mythologising memoirs. There are similarities and differences between The mamba’s precipice and the way Van der Post wrote about Natal in The hunter and the whale (1967). Campbell’s novel in some respects resembles nineteenth-century children’s adventure stories set in South Africa, and it also has elements of the humour typical of school stories of the ‘Billy Bunter’ era and the cosy, mundane activities and dialogue common to other mid-century South African and English children’s books.
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Onyejizu, Raphael. "Contemporary Issues of Radical Temper in Leonard Ikerionwu’s Heroes of Change." University of Chitral Journal of Linguistics and Literature 1, no. 1 (March 3, 2018): 1–22. http://dx.doi.org/10.33195/uochjll/1/1/2017.
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This paper sets out to examine the contemporary issues of radical temper in Leonard Ikerionwu’s prose fiction. It aimed at showing that the myriads of challenges of the Nigerian socio-political enclave have not escaped the creative consciousness of the emergent African (Nigerian) writer and critic. It was discovered that the text under study carefully mirrored the present society from the Marxist viewpoint, highlighting attendant problems such as marginalization among the rank and file of the military, poverty, corruption, unemployment, insecurity and leadership ineptitude. In the light of these potent issues presented, the paper sought to educate and appeal to the masses’ conscience to perceive revolution as an alternative means, towards the total restoration of change in human society.
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Ricard, Alain. "FURNISS, Graham, Poetry, prose and popular culture in Hausa, Londres, International African Institute : Edinburgh University Press, 1996, 338 p." Études littéraires africaines, no. 5 (1998): 64. http://dx.doi.org/10.7202/1042202ar.
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Zeisler-Vralsted, Dorothy. "African Americans and the Mississippi River: Race, history and the environment." Thesis Eleven 150, no. 1 (January 7, 2019): 81–101. http://dx.doi.org/10.1177/0725513618822010.
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Long touted in literary and historical works, the Mississippi River remains an iconic presence in the American landscape. Whether referred to as ‘Old Man River’ or the ‘Big Muddy,’ the Mississippi River represents imageries ranging from pastoral and Acadian to turbulent and unpredictable. But these imageries – revealed through the cultural production of artists, writers and even filmmakers – did not adequately reflect the experiences of everyone living and working along the river. The African-American community and its relationship to the Mississippi River down the ages is occluded by these discourses. In focusing on this alternate history, namely the African-American experience with the Mississippi River, the overarching framework of this paper will consist of three lenses on the river as: refuge, labor, and cultural icon. From the moment of their arrival, the intersection of their lives with the Mississippi River reveals a history where the river offers freedom, oppression, escape, sustenance, renewal, disease and displacement. From this largely unexplored perspective, distinctions of race and class are exposed and reinforced. Although rivers have long been included in the historical record, whether through a geographical, spiritual, aesthetic or recreational perspective, the juncture where human lives intersect with rivers, constructing memory and identity, remains overlooked despite a plethora of cultural artifacts such as song, prose and poetry that distinguish experiences. These cultural artifacts, in turn, differentiate reciprocal relationships with the river based on race and class. For the African-American community, the Mississippi River alternated between liberator and oppressor, informing the social construct of an identity that was at times lamented, celebrated, demeaned and feared. But how did these linkages with the river not only influence a distinct collective memory but also nurture a culture with certain understandings and perspectives about the river? And if so, what have been their ramifications? Through an examination of folklore, song and first-person accounts, these questions will be addressed as multiple narratives persist, offering a history that makes more explicit the distinctive experiences of the African-American communities in their engagement with the Mississippi River.
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Skansgaard, Michael. "The Virtuosity of Langston Hughes: Persona, Rhetoric, and Iconography in The Weary Blues." Modern Language Quarterly 81, no. 1 (March 1, 2020): 65–94. http://dx.doi.org/10.1215/00267929-7933089.
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Abstract Previous historical studies of The Weary Blues have focused on the racial symbolism of Langston Hughes’s technique, which (as the consensus goes) authenticates the voice of the persona through its deliberate simplicity. This orthodox view is wrongheaded from the outset. The essay uses a new system of rhetorically driven scansion to identify elaborate rhetorical symmetries and polyrhythms that shape the cognition of Hughes’s persona and the recognition of his readers in ways that prose language cannot. Hughes employs rhetoric and iconography as alternative modes of historical narration. This recuperation of his persona intervenes in an ongoing dispute in the field of historical poetics about the value of formalism and cognitivism. The essay aims to show that the concept of thinking in verse is valuable where it has been least applied: in reclaiming the value of traditionally marginalized literatures such as those of the African American vernacular tradition.
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Bourgeus, Camille, and Yves T'Sjoen. "Breyten Breytenbachs poëzie in Raster." Tydskrif vir Letterkunde 54, no. 2 (September 4, 2017): 26–41. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.435.
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From 1969 until 1972 the South-African writer and graphic artist Breyten Breytenbach published 29 poems, prose texts and three drawings in the Dutch experimental periodical Raster (first edition: 1967). H. C. ten Berge, writer, poet and Raster's main editor, attributed Breytenbach an unusually prominent position in his magazine. In the Dutch language area of the late sixties and early seventies, Breytenbach was mostly known for his political engagement within the anti-apartheid movement. Ten Berge, however, also praised his work for its formal and experimental aesthetic qualities. According to Ten Berge experiment and engagement are related to one another in a very unique way. By examining the position of Breytenbach in Raster, the paper presents a documentation of the exceptional literary relationship between Breytenbach and Ten Berge, as well as their shared interest in certain motifs in poetry, the use of a specific metaphoric language (e.g. perception of nature and body) and a common belief in the power of poetic language.
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Harrison, Graham. "The State against the Peasantry: Rural Struggles in Colonial and Postcolonial Mozambique. By Merle L. Bowen. Charlottesville and London: University Press of Virginia, 2000. 256p. $65.00 cloth, $19.50 paper." American Political Science Review 95, no. 2 (June 2001): 492–93. http://dx.doi.org/10.1017/s0003055401542021.
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Merle Bowen investigates the politics of the changing rela- tionship between state and peasantry in Mozambique, prin- cipally through the elaboration of a case study, the Ilha Josina Machel in the southern province of Maputo. The book takes as point of departure the "developmental" period of Portuguese colonialism, from the early 1960s until the present day, although the main focus is on 1975-83. This is useful, because that period gives us a relatively clear insight into the reality of the Frelimo government's policies of socialism in the countryside, before all aspects of Mozam- bique's political economy were inundated by the war prose- cuted by Renamo with South African backing. Although there has been a marked increase of research interest in local-level studies recently, few works that take a similar approach treat this period in such detail. For all those interested in the realities of rural socialism generally, or specifically Mozambique's Frelimo period, this book will be valuable indeed.
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Avery, Tamlyn. "“Split by the Moonlight”: Beethoven and the Racial Sublime in African American Literature." American Literature 92, no. 4 (October 6, 2020): 623–52. http://dx.doi.org/10.1215/00029831-8780863.
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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives” to the setting of twentieth-century African American literature, where Beethoven’s Romantic sublime often stands in for the racial sublime. This transference, I argue, is not an expression of the artist’s repressed instinctual conflict, the mere sublimation of their devotion to “white” culture and the cult of genius, as Amiri Baraka once suggested. Rather, Beethoven’s music formed a persistent and powerful political allegory of the racial sublime for many prominent twentieth-century authors in their literary works, where the sublime constitutes a sublimation of direct forms of power into a range of aesthetic experiences. This can be observed in the Beethovenian ekphrasis featured in prose works by James Weldon Johnson, Langston Hughes, James Baldwin, and Ralph Ellison—four writers whose works have also been considered indebted to blues and jazz musical influences and who approach the racial sublime not through language but by appealing to music’s nonsignifying suggestiveness, in order to capture the intensities that radiate out of these encounters. As this article reveals, their allegorical uses for Beethoven are not unitary. The forcefield of the racial sublime is registered allegorically through the performative sublime of Sonata “Pathétique” in Johnson’s The Autobiography of an Ex-Colored Man (1912); the sublime melancholy of the “Moonlight” Sonata in Hughes’s tragic short story “Home” (1934); the spiritual sublime of Beethoven’s piano concerti and the Ninth Symphony in Baldwin’s short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952).
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Corber, Robert J. "Romancing Beale Street." James Baldwin Review 5, no. 1 (September 2019): 178–90. http://dx.doi.org/10.7227/jbr.5.12.
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The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.
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S, Mrs Jeni, and Dr J. G. Duresh. "Discourses in the conflict of selfhood, in Jacqueline woodson’s Mesmerizing Novel “Brown Girl Dreaming”." Think India 22, no. 3 (September 26, 2019): 687. http://dx.doi.org/10.26643/think-india.v22i3.8370.
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In this world if one is born under subjugation, then they are forced to lead a life of humiliation and degradation until death. Even after death it spreads like a disease generation after generation and spoils the name and fame even after reaching the zenith. The pain , frustration,anguish anger, revolt felt by the oppressed section of the African society form the Afro-American writings. Jacqueline Woodson’s “Brown Girl Dreaming” is largely about her early impulse towards narration with many of the painful aspects of her life. In her novel, the theme of segregation, racism and activism and Black power Movement is visible in and around. Woodson’s choice to write in verse rather than prose reflects Jacqueline’s early affinity for poems. Jacqueline’s childhood dances between the North and the south’ where both the areas were filled with slavery and mocked by the people. This paper clearly exposes the inner struggles faced by the author and how the cultural and social impact has been over challenged by the belief of hope and faith.
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Uerlings, Herbert. "Anerkennung und Interkulturalität Überlegungen mit Blick auf ›Haiti‹ bei Hegel und Alexander Kluge." Zeitschrift für interkulturelle Germanistik 8, no. 2 (December 20, 2017): 87–104. http://dx.doi.org/10.14361/zig-2017-0209.
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Abstract ›Recognition‹ is one of the key concepts of Interculturality. It is, however, a highly controversial concept. Whereas scholars like Honneth, Taylor and Habermas emphasize ›social integration via recognition‹, others, especially post-colonialists and poststrucuturalists, think of ›submission via recognition‹. The current discussion focuses on Hegel who was the first to think of ›recognition‹ as a basic principle of personal identity, social order and global history. The article deals with a significant current debate about the meaning of the Haitian Revolution in Hegel’s philosophy. What, in Hegel’s work, is the meaning of the Revolution or the ›fight for recognition‹ led by African slaves in Saint-Domingue? What is the relationship between Hegel’s philosophy and globalization? It will be shown that, for systematic reasons, Hegel could neither ignore nor accept the Haitian Revolution. This ought to have implications for current debates on ›recognition‹ and interculturality. In this context Alexander Kluge’s fragment of prose Jeden Morgen liest Hegel Zeitung (Every morning Hegel reads the papers) (2012) will be analyzed as a critical literary response to Hegel.
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Rapetti, Valentina. "‘I was your slave’: Revisioning kinship in Toni Morrison and Rokia Traoré’s Desdemona." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 237–57. http://dx.doi.org/10.1386/jafp_00030_1.
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This article offers a critical reading of Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel laureate Toni Morrison and music and lyrics by Malian singer-songwriter Rokia Traoré. By drawing on early modern race studies and Marshall Sahlin’s notion of ‘mutuality of being’, the article discusses Morrison’s lyrical prose as well as Traoré’s songs and performance to show how they merge and amplify one another in Sellars’ meditative staging to jointly rearticulate early modern notions of race, kinship and family embedded in Othello. By questioning what lies dormant, unseen and unheard in the Shakespearean tragedy, Desdemona supplements it with what Imtiaz Habib has termed ‘imprints of the invisible’ and invites its readers and audiences to ponder the onset of European colonialism, the slave trade, colour-based racism and their global aftermath, positing theatre as a metaphor for other civic, shared spaces where honest conversations about race, gender and class inequalities can open up a path to healing and reconciliation.
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Okeugo, Oluchi Chris, Obioha, and Jane Onyinye. "African Prose Fiction and the Depiction of Corruption in Islamic Society and Religion: A Critical Study of Abubakar Gimba’s Witnesses to Tears and Sacred Apples." International Journal of Applied Linguistics and English Literature 9, no. 1 (January 31, 2020): 61. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.1p.61.
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African prose fictions have written on a whole number of ideas and perception, but have conspicuously paid little or no attention to what is predominant in the Islamic society and religious world. For Gimba, the intrigues and contestation over power, especially within the civil service, assume a metaphoric significance in unraveling social contradictions in society. Gimba thus, evaluates the various dimensions of power and how it is used to subjugate or oppress people. In most of his works, Gimba pillories the repressive nature of power and the conflicts it engenders are graphically illustrated. In his articulation of this disabling environment, Gimba evokes a consciousness, concerned with Manichaeism and alienation. Gimba is sensitive to his characters as they adjust to the uncertainties of a postcolonial society with all the indices of underdevelopment, greed, corruption, bureaucratic tardiness, indiscipline, political instability etc. These characteristics of modern Nigeria form the background from which Gimba’s characters are drawn. However, drawing from their Islamic background, the characters in Gimba’s works express their morality, conviction and thought through the ideals of the religion. This leads to a remarkable blending of social and moral concerns with the supervening influence of Islam without sermonization. The outcome of this fusion is a balance between aesthetics and spiritual interests in a way that captures the essence of Northern Nigeria with vividness and freshness. Gimba, like Tahir, therefore relates the traditional and cultural values of the people to their response to the dilemma of new experiences and their interpretations of them. Gimba draws his sources from The Holy Qur’an in the delineation of setting, action and character. As a liberal feminist, he chooses urban heroines through whom he restructures our visions. This article attempts to investigate Gimba’s works using Neo-humanistic theory in evaluating his inclusion of religion and the techniques used conspicuously in the novels, Witnesses to Tears and Sacred Apples. This scholarly work equally argues that the writer’s creativity in religion can best be appreciated through an analytical study of the novel.
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Diegner, Lutz. "Metatextualities in the Kenyan Swahili novel: A case study reading of Kyallo Wamitila’s Dharau ya Ini." Tydskrif vir Letterkunde 58, no. 1 (May 21, 2021): 127–38. http://dx.doi.org/10.17159/tl.v58i1.9151.
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Contemporary Swahili novels transgress the boundaries of the novel text itself. They employ metatextualities of different categories in order to fulfil a variety of functions. In this essay, I explore metatextualities in the Kenyan Swahili novel, and provide a case study reading of one of the novels by the prolific and award-winning writer Kyallo Wadi Wamitila. My reading of Wamitila’s novel Dharau ya Ini (Contempt of the Liver, 2007) concentrates on metanarration and metareference. I analyse how narration, especially point of view, is used and how it is discussed and reflected upon by the text and in the text itself (metanarration). Another focus will be put on instances of metareference, especially on references to oral literature and to the literary genres of drama and poetry, as part of a work of prose. These analyses are done by a close reading informed by current research on metatextualities, and, in one of the examples, by phonostylistics. A general purpose of this study is to show how Swahili novel writing as African language writing participates in global discourses on, and practices in, literature and the arts. In a perspective of East(ern) African literature, it argues that Swahili literature and literary studies provide stimuli to literary theory and practice otherwise still dominated by its Anglophone counterpart in the region, and beyond. As regards Swahili literature, it reflects the crucial impact of Kenyan writing since about the turn of the millennium, in a sphere hitherto dominated by writers from Tanzania. The study is part of a research project I am undertaking in analysing metatextualities in contemporary Swahili novels by both Tanzanian and Kenyan writers.
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Brett, Thomas. "Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi'sDysnomia." Popular Music 36, no. 1 (December 13, 2016): 75–85. http://dx.doi.org/10.1017/s0261143016000684.
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AbstractDysnomiais a 2013 recording by the jazz trio Dawn of Midi scored for acoustic piano, bass and drums. Eschewing jazz chords, improvisation, swing rhythms and theme and variations, the music is instead organised around repeating rhythmic loops and interlocking melo-harmonic fragments, as one groove assemblage segues into the next like an evolving DJ set. The music sounds equal parts minimal process, electronically sequenced and traditional African. This article engages the musical and philosophical concepts at play inDysnomiato think through writing about music via three paths of speculative inquiry. The first part of the article considers works by Kodwo Eshun, Paul Morley and David Sudnow, idiosyncratic thinkers outside of the mainstream of academic music discourse who vividly approach writing about music through defamiliarising language and inventing concepts, generating associations based on comparative listening and describing the dynamics of musical process. In the second part of the article I draw on these writing techniques to direct my repeated listening encounters withDysnomiaand construct a prose interpretation modelled on the polyrhythms of the music. I conclude with a brief discussion of the phenomenological perspective on musical essences and suggest that music is a model for thinking through writing about music.
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Wagner, Esther-Miriam. "Register and Layout in Epistolary Judeo-Arabic." Jewish History 32, no. 2-4 (November 4, 2019): 335–49. http://dx.doi.org/10.1007/s10835-019-09331-5.
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Abstract Medieval letters from the Cairo Geniza can be broadly classified into private, official, or mercantile correspondence, and all use particular linguistic registers. Official correspondence, for example, shows abundant code switching into Hebrew and the employment of high-style versus lower-style prose. Mercantile letters actively avoid Hebrew and emulate supraconfessional Arabic writing standards. Private letters typically display more colloquial and less standardized forms than other genres and are more often written in crude handwriting. Among these private letters, we find one written by or for women that share common features of colloquiality and less standardization even when they are transcribed by male scribes. Linguistic registers are also influenced by the time and place in which they are written, and comparing Geniza letters from different areas and time periods exposes geographic and chronological characteristics. For example, North African letters tend to be linguistically more conservative, and Babylonian and Egyptian letters show differences in layout and style. Throughout the medieval period, orthographic, grammatical, lexical, and stylistic changes in the letters reflect social and economic evolution over time. The principal trend is a distinct move away from prescriptive Arabic linguistic norms from the late twelfth century on.
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SABER, YOMNA. "Langston Hughes: Fringe Modernism, Identity and Defying the Interrogator Witch-Hunter." Journal of American Studies 49, no. 1 (January 21, 2015): 173–79. http://dx.doi.org/10.1017/s002187581400190x.
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Langston Hughes (1902–67), the wondering wandering poet, has left behind a rich legacy of books that never grow dusty on the shelves. There seems to be no path that Hughes left untrodden; he wrote drama, novels, short stories, two autobiographies, poetry, journalistic prose, an opera libretto, history, children's stories, and even lyrics for songs, in addition to his translations. Hughes was the first African American author to earn his living from writing and his career spans a long time, from the 1920s until the 1960s – he never stopped writing during this period. The Harlem Renaissance introduced prominent black writers who engraved their names in the American canon, such as Countee Cullen, Claude McKay, Jean Toomer and Zora Neale Hurston, but Hughes markedly stands out for his artistic achievements and longer career. Hughes had been identified by many as the spokesperson for his race since his works dug deep into black life, and his innovative techniques embraced black dialect and the rhythms of black music. He captured the essence of black life with conspicuous sensitivity and polished his voice throughout four decades. His name also had long been tied to the politics of identity in America. Brooding over his position, Hughes chose to take pride in being black in a racist nation. In his case, the dialectics of identity are more complicated, as they encompass debates involving Africa, black nationalism and competing constructions surrounding a seeming authentic blackness, in addition to Du Bois's double consciousness. Critics still endeavour to decipher the many enigmas Hughes left unresolved, having been a private person and a controversial writer. His career continues to broach speculative questions concerning his closeted sexual orientation and his true political position. The beginning of the new millennium coincided with the centennial of his birth and heralded the advent of new well-researched scholarship on his life and works, including Emily Bernard's Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925–1964 (2001), Kate A. Baldwin's Beyond the Color Line and the Iron Curtain: Reading Encounters between Black and Red, 1922–1963 (2002), Anthony Dawahare's Nationalism, Marxism, and African American Literature between the Wars: A New Pandora's Box (2002), Bruce R. Schwartz's Langston Hughes: Working toward Salvation (2003), and John Edgar Tidwell and Cheryl R. Ragar's edited collection Montage of a Dream: The Art and Life of Langston Hughes (2007), among others.
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Paulin, Catherine, and Michael Percillier. "Oral varieties of English in a literary corpus of West African and South East Asian prose (1954 – 2013): commitment to local identities and catering for foreign readers." Etudes de stylistique anglaise, no. 9 (March 1, 2015): 59–79. http://dx.doi.org/10.4000/esa.797.
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Zhang, Yiyi, Robert Kennedy, Elena Blasco-Colmenares, Barbara Butcher, Sanaz Norgard, Zayd Eldadah, Timm Dickfeld, et al. "Outcomes in African Americans undergoing cardioverter-defibrillator implantation for primary prevention of sudden cardiac death: Findings from the Prospective Observational Study of Implantable Cardioverter-Defibrillators (PROSE-ICD)." Heart Rhythm 11, no. 8 (August 2014): 1377–83. http://dx.doi.org/10.1016/j.hrthm.2014.04.039.
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Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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Teixeira da Silva, Jaime A., Kwabena Osei Kuffour Adjei, Christopher M. Owusu-Ansah, Radhamany Sooryamoorthy, and Mulubrhan Balehegn. "Africa’s challenges in the OA movement: risks and possibilities." Online Information Review 43, no. 4 (August 12, 2019): 496–512. http://dx.doi.org/10.1108/oir-04-2018-0152.
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Purpose The purpose of this paper is to assess the status of the open access (OA) movement on the African continent, and if there is any financial or moral exploitation by dominant “foreign” world powers. OA provided the African intellectual community with a tool to prove its academic prowess and an opportunity to display cultural and intellectual independence. OA publishing is prone to abuse, and some in Africa have sought to exploit the OA boom to profit from non-academic activity rather than use this tool to glorify Africa’s image and diversity on the global intellectual stage. These issues are explored in detail in the paper. Design/methodology/approach The authors broadly assessed literature that is related to the growth and challenges associated with OA, including the rise of OA mega journals, in Africa. Findings African OA journals and publishers have to compete with established non-African OA entities. Some are considered “predatory”, but this Jeffrey Beall-based classification may be erroneous. Publishing values that African OA publishers and journals aspire to should not equal those published by non-African publishing entities. Africa should seek solutions to the challenges on that continent via Africa-based OA platforms. The budding African OA movement is applauded, but it must be held as accountable as any other OA journal or publisher. Originality/value African scholars need to reassess the “published in Africa” OA image.
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Kirk-Greene, A. H. M. "Graham Furniss, Poetry, Prose and Popular Culture in Hausa. Edinburgh: Edinburgh University Press for the International African Institute, 1996, 349 pp., £16.95, ISBN 0 7486 0786 2 (paperback)." Africa 67, no. 2 (April 1997): 324–26. http://dx.doi.org/10.2307/1161449.
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Ratna Hasanthi, Dhavaleswarapu. "Womanism and Women in Alice Walker’s The Temple of My Familiar." Shanlax International Journal of English 7, no. 2 (March 17, 2019): 1–9. http://dx.doi.org/10.34293/english.v7i2.322.
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African-American women have been inappropriately and unduly, stereotyped in various contrasting images as slaves post-slavery, wet nurses, super women, domestic helpers, mammies, matriarchs, jezebels, hoochies, welfare recipients, and hot bodies which discloses their repression in the United States of America. They have been showcased by both black men and white women in different ways quite contrary to their being in America. Toni Morrison, Alice Walker, Gloria Naylor, Gayl Jones, Paule Marshall, Sonia Sanchez, Toni Cade Bambara, to name a few writers, have put forth the condition of black women through their works. They have shown the personality of many a black women hidden behind the veils of racism, sexism, classism and systemic oppression of different sorts. Walker coined the term Womanism in her 1984 collection of essays titled In Search of Our Mothers’ Gardens: Womanist Prose. Womanism advocates consensus for black women starting with gender and proceeding over to race, ethnicity and class, with a universal outlook. Womanism offers a positive self-definition of the black woman’s self within gendered, historical, geographical, ethnic, racial and cultural contexts too. Walker’s novel The Temple of My Familiar 1989 is a womanist treatise putting forth the importance of womanist consciousness and womanist spirit. The novel is a tribute to the strength, endurance and vitality of black womanhood. The novel revolves around three pairs of characters and their lives to showcase the lives of African Americans and coloured population in America. The three couples namely Suwelo and Fanny, Arveyda and Carlotta, Lissie and Hal showcased in the novel, belong to different age groups and different, mixed ethnicities. Through them, Walker depicts the lives of marginalized population in America, and the umpteen trials they face for being who they are. Furthermore, this paper showcases how Womanism as a theory can really enliven the life of the black community, especially black women when put into practice.
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Cruz, Joelle. "Following traces: an organizational ethnography in the midst of trauma." Qualitative Research in Organizations and Management: An International Journal 11, no. 4 (November 14, 2016): 214–31. http://dx.doi.org/10.1108/qrom-02-2016-1366.
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Purpose The purpose of this paper is twofold. First, it brings forth a methodology of “traces” for organizational ethnography of the shadow, also understood as the realm of the repressed. Second, it highlights the emotional disconnect that organizational ethnographers encounter in traumatized communities and provides suggestions to bridge them. Design/methodology/approach The paper – drawing on autoethnography – incorporates the author’s fieldwork experiences conducted with market women in postconflict Monrovia, Liberia. In the tradition of “confessional tales,” it includes vignettes from fieldnotes and in-depth qualitative interviews. Findings The paper highlights three types of traces for research on the shadow: memorial, interactional, and material. Research limitations/implications The paper is important because it provides a methodology to recover information pertaining to the organizational shadow, where silence, absence, and suppression dominate. It extends existing literature focused on visuality to consider alternative and holistic epistemologies in line with African worldviews. Practical implications This paper will help practitioners working with traumatized communities as it suggests the use of memory as a more indirect route to recover information rather than direct questioning. Originality/value The paper juxtaposes poignant stories with academic prose and is valuable in terms of content and form. First, it addresses the topics of emotion and discomfort, seldom incorporated in organization studies. Second, it is valuable to scholars wishing to experiment with more intuitive forms of writing.