Journal articles: 'African Women Writers'

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Turner, Margaret E. "South African Women Writers." World Literature Written in English 29, no. 2 (September 1989): 171–73. http://dx.doi.org/10.1080/17449858908589112.

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Ngozi Dick, Angela. "Technique of Exploring Women’s Choice in Select Novels of El Sadaawi, Ba, Alkali and Adichie." English Linguistics Research 7, no. 3 (September 27, 2018): 42. http://dx.doi.org/10.5430/elr.v7n3p42.

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Women writers in Africa have enjoyed wider audience especially in higher institutions where the curriculum includes African Women Writers, Gender Studies and other related courses. African women writers may focus on a variety of subject matters but what is common to their literary art is that they concentrate on the experience of women. This article focuses on how the authors use their literary art to portray women’s experiences in their social melieu. Nawal El Sadaawi, Mariama Ba, Zaynab Alkali and Chimamanda Ngozi Adichie are women writers from Africa. The first three women are older and from Moslem background. Adichie is younger and from a Christian background. The choice made of the novels of these women is due to the recurrent problem of being a woman everywhere. In contemporary times women are still treated differently just because they are women. However, it has been observed that there is nothing intrinsic in women that depict them as the bad or inferior species of human beings. This article focuses on the commonality of style used by the select African novelists in couching the predicament of women in the African society. The novels chosen in this research are El Sadaawi’s Woman at Point Zero and God Dies by the Nile; Ba’s So Long a Letter and Scarlet Song; Alkali’s The Stillborn and The Virtuous Woman and Adichie’s Americanah.

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Amaefula, Rowland Chukwuemeka. "African Feminisms: Paradigms, Problems and Prospects." Feminismo/s, no. 37 (January 21, 2021): 289. http://dx.doi.org/10.14198/fem.2021.37.12.

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African feminisms comprise the differing brands of equalist theories and efforts geared towards enhancing the condition of woman. However, the meaning and application of the word ‘feminism’ poses several problems for African women writers and critics many of whom distance themselves from the movement. Their indifference stems from the anti-men/anti-religion status accorded feminism in recent times. Thus, several women writers have sought to re-theorize feminism in a manner that fittingly captures their socio-cultural beliefs, leading to multiple feminisms in African literature. This study critically analyzes the mainstream theories of feminisms in Africa with a view to unravelling the contradictions inherent in the ongoing efforts at conceptualizing African feminisms. The paper further argues for workable ways of practicing African feminisms to serve practical benefits for African man and woman, and to also function as an appropriate tool for assessing works by literary writers in Nigeria in particular and Africa in general.

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Et. al., Siva R,. "“The Joys of Motherhood” of an African Woman: A Mirage." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 2 (April 11, 2021): 1167–69. http://dx.doi.org/10.17762/turcomat.v12i2.1138.

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Quest for identity is one phenomenon of postcolonialism that led way for the emergence of Women writers portraying the indigenous women of their society who were denied the authorial voice in the male-dominated society. Africa African woman literature has always been discussed elaborately not only among ‘White’ but also among fellow African women writers and critics across the globe. Emecheta was one such writer whose work has been criticized for writing after settled in the western country, UK (the colonizer). The readers from third world nations may agree with Emecheta’s call for the necessity to redefine Women’s identity under the African identity. Buchi Emecheta to that reverence has always through her strong woman characters never failed to express the state of the African women and their limitations in social life. Emecheta has always recorded her protagonists' struggle for equality in a male-dominated society. Through the study of her novel The Joys of Motherhood, an attempt is made to explore her perception of Motherhood and explain how she portrays it to the African context where traditions and communal ties are deeply rooted in the Nigerian Ibo society.

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Chitando, Ezra, and Anna Chitando. "Weaving Sisterhood: Women African Theologians And Creative Writers." Exchange 34, no. 1 (2005): 22–38. http://dx.doi.org/10.1163/1572543053506310.

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AbstractAfrican American women have been keen to highlight that black women are at the 'bottom of the pile' in a society that espouses values of human equality. The situation of the women in Africa is probably worse, as their societies do not propagate human equality. Moreover they have to cope with many other problems such as poverty, HIV/AIDS, the threat of death and male dominance. Though African women theologians were few at the beginning of the 1990s, their number increased during the ten years that followed. This article shows how they were inspired by their sisters, the female African creative writers. Often they felt more solidarity with these sisters than with many African male theologians. Women African theologians and creative writers stand for the same struggle in order to prevent men using their religion — be it African traditional religion or Christianity — to oppress their sisters.

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Chitando, Anna. "Writing Mother Africa : African women creative writers and the environment." Journal of African Languages and Literary Studies 1, no. 2 (August 15, 2020): 61–85. http://dx.doi.org/10.31920/2633-2116/2020/1n2a4.

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Ireland, Susan. "Women Writers of North African Immigrant Descent." Women in French Studies 2002, no. 1 (2002): 221–44. http://dx.doi.org/10.1353/wfs.2002.0054.

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8

Richey, Debora. "BLACK AFRICAN WOMEN WRITERS: A SELECTIVE GUIDE." Collection Building 14, no. 1 (January 1995): 23–31. http://dx.doi.org/10.1108/eb023391.

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9

Flint, Holly. "Review Essay: African women writers respond to neocolonial African problems." Peace Review 15, no. 3 (September 2003): 357–63. http://dx.doi.org/10.1080/1040265032000130968.

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10

Hughes, Rebecca C. "Visions of Friendship and Equality: Representations of African Women in Missionary Propaganda in Interwar Britain." Journal of the Canadian Historical Association 24, no. 2 (May 15, 2014): 353–85. http://dx.doi.org/10.7202/1025082ar.

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During the interwar years, British evangelical women began to promote African women as worthy of friendship and equality. These representations differed not only from Victorian images of African women, but also those popularized by interwar secular writers. This article argues that the two most prolific female missionary writers of the interwar period, Mabel Shaw and Cicely Hooper, promoted these positive images while working as educators of African women. As feminists, these evangelicals valued African women, and as adherents of fulfillment theology popularized in ecumenical missionary discourse, they admired features of African culture that they believed were divinely inspired. By the late 1920s, these missionary women generated even more favourable images of African women, as they feared Western materialism was disintegrating African home life. Thus, this article demonstrates the liminal position of missionary women tethered to audiences in Britain, Africa, and the growing ecumenical Church. It also points to the importance of the interwar years as a key period in which ideas about race, gender, and culture were being reworked. While these missionary women did not erase boundaries of difference between themselves and African women, they invited Britons to join them in building cross-cultural, cross-racial friendships.

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11

Werner, Craig, and Casper LeRoy Jordan. "A Bibliographical Guide to African-American Women Writers." African American Review 29, no. 3 (1995): 509. http://dx.doi.org/10.2307/3042406.

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MATZKE, CHRISTINE. "A Preliminary Checklist of East African Women Writers." Matatu 15-16, no. 1 (April 26, 1996): 201–44. http://dx.doi.org/10.1163/18757421-90000188.

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BARBER, K. "In Their Own Voices: African women writers talk." African Affairs 91, no. 362 (January 1, 1992): 159–61. http://dx.doi.org/10.1093/afraf/91.362.159-a.

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14

Davies, Carole Boyce. "Finding Some Space: Black South African Women Writers." A Current Bibliography on African Affairs 19, no. 1 (September 1986): 31–45. http://dx.doi.org/10.1177/001132558701900105.

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15

Richards, Constance S. "White Women Writers and Their African Invention (review)." Research in African Literatures 37, no. 1 (2006): 142–43. http://dx.doi.org/10.1353/ral.2006.0008.

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16

Glade, B. "African American Women Writers of the Nineteenth Century." Journal of American History 102, no. 1 (June 1, 2015): 333–34. http://dx.doi.org/10.1093/jahist/jav222.

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Hall, Lezlie Margaret. "White Women Writers and Their African Inventions (review)." MFS Modern Fiction Studies 51, no. 1 (2005): 232–35. http://dx.doi.org/10.1353/mfs.2005.0030.

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Lowe, John. "Shaping Memories: Reflections of African American Women Writers." African American Review 44, no. 4 (2011): 729–30. http://dx.doi.org/10.1353/afa.2011.0069.

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Nutsukpo, Margaret Fafa. "Feminism in Africa and African Women’s Writing." African Research Review 14, no. 1 (April 28, 2020): 84–94. http://dx.doi.org/10.4314/afrrev.v14i1.8.

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Feminism developed out of the discontents of women in the West. Although African women, over the ages, have always been sensitive to all forms of discrimination within the African society, the emergence of feminism and feminist consciousness-raising awakened in them a new awareness of their oppression through the inequalities in society, reinforced by patriarchal tradition and culture. Many African women have aligned themselves with feminism and the feminist cause and, despite all odds have made remarkable progress in their lives and society and gained respectable acceptance and recognition from even the most stubborn reluctance of male domination. This trend has been captured by African women writers in their literary works which reflect the progress African women have made in transitioning from the margin to the centre and their contributions to social change. Key Words: Feminism, Africa, patriarchy, African women, consciousness-raising, change

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20

Cazenave, Odile, Irene d'Almeida, and Florence Stratton. "Francophone African Women Writers: Destroying the Emptiness of Silence." African Studies Review 39, no. 3 (December 1996): 198. http://dx.doi.org/10.2307/524951.

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21

Gould, Karen, and Irene Assiba d'Almeida. "Francophone African Women Writers: Destroying the Emptiness of Silence." Tulsa Studies in Women's Literature 17, no. 1 (1998): 165. http://dx.doi.org/10.2307/464337.

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Zabus, Chantal, and Irène Assiba d'Almeida. "Francophone African Women Writers: Destroying the Emptiness of Silence." World Literature Today 69, no. 3 (1995): 629. http://dx.doi.org/10.2307/40151545.

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Moses, Sibyl. "New Jersey African American Women Writers and Their Publications." Journal of Electronic Resources Librarianship 14, no. 27 (May 29, 2002): 121–39. http://dx.doi.org/10.1300/j101v14n27_14.

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24

Olugunle, Wole. "The Rejection of Men’s Exploitation by Fellow Men: A Literary Approach in Les Bouts De Bois De Dieu." International Journal of Comparative Literature and Translation Studies 8, no. 1 (January 31, 2020): 21. http://dx.doi.org/10.7575/aiac.ijclts.v.8n.1p.21.

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The scramble for the partitioning of Africa during the Berlin Conference of 1884-85 in Germany created the ground for the colonialists to make Africans the victims of social alienation and mental dehumanization during that era of colonialism. Thus, African writers that flayed these social and economic vices armed themselves with different approaches both theoretically and stylistically, for the purpose of engagement littéraire. Reading the Senegalese Sembène Ousmane’s Les Bouts de Bois de Dieu (1960), published few days after the independence of most of the African countries, this paper extrapolates the writer as a Marxist, with the prevalence of Marxist tendencies in his literary creation. The paper seeks to establish the fact that women too could be relevant in the nation’s building as they play pivotal roles in the rejection of men’s exploitation by fellow men from the perspective of Marxist Theory. With the methodology of textual analysis, the paper gives the synopsis of the novel before the theoretical approach adopted, the Marxist Theory. This is followed by the Marxist deconstruction of the novel on the rejection of men’s exploitation by men which also sees the women complementarities of men in the modern African society. The paper concludes by recommending how the oppressed could gain a total freedom from the oppressors.

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Nkealah, Naomi N. "Conceptualizing feminism(s) in Africa: The challenges facing African women writers and critics." English Academy Review 23, no. 1 (July 2006): 133–41. http://dx.doi.org/10.1080/10131750608540431.

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Harris, Trudier. "Christianity’s Last Stand: Visions of Spirituality in Post-1970 African American Women’s Literature." Religions 11, no. 7 (July 18, 2020): 369. http://dx.doi.org/10.3390/rel11070369.

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Christianity appealed to writers of African descent from the moment they set foot on New World soil. That attraction, perhaps as a result of the professed mission of slaveholders to “Christianize the heathen African,” held sway in African American letters well into the twentieth century. While African American male writers joined their female counterparts in expressing an attraction to Christianity, black women writers, beginning in the mid-twentieth century, consistently began to express doubts about the assumed altruistic nature of a religion that had been used as justification for enslaving their ancestors. Lorraine Hansberry’s Beneatha Younger in A Raisin in the Sun (1959) initiated a questioning mode in relation to Christianity that continues into the present day. It was especially after 1970 that black women writers turned their attention to other ways of knowing, other kinds of spirituality, other ways of being in the world. Consequently, they enable their characters to find divinity within themselves or within communities of extra-natural individuals of which they are a part, such as vampires. As this questioning and re-conceptualization of spirituality and divinity continue into the twenty-first century, African American women writers make it clear that their characters, in pushing against traditional renderings of religion and spirituality, envision worlds that their contemporary historical counterparts cannot begin to imagine.

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Marinšek, Darja. "Female genital mutilation in African and African American women's literature." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 129–46. http://dx.doi.org/10.4312/an.40.1-2.129-146.

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The article builds on the existing dispute between African and African American women writers on the competence of writing about female genital mutilation (FGM), and tries to determine the existence and nature of the differences between the writings of these two groups. The author uses comparative analysis of two popular African and African American novels, comparing their ways of describing FGM, its causes and consequences, the level ob objectivity and the style of the narrations.This is followed by a discussion on the reasons for such differences, incorporating a larger circle of both African and African American women authors, at the same time analysing the deviance within the two groups. While the differences between African American writers are not that great, as they mostly fail to present the issue from different points of view, which is often the result of their lack of direct knowledge of the topic, African authors' writing is in itself discovered to be ambivalent and not at all invariable. The reasons for such ambivalence are then discussed in greater context, focusing on the effect of the authors' personal contact with circumcision as well as their knowledge and acceptance of Western values. The author concludes by establishing the African ambivalent attitude towards FGM, which includes different aspects of the issue, as the most significant difference between their and African American writers' description of this practice.

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Okpala, Ebele Peace. "TRACING THE EVOLUTION OF THE IMAGE OF AFRICAN FEMALES THROUGH THE AGES: AN OVERVIEW OF SELECTED LITERARY WORKS." Volume-3: Issue- 1 (January) 3, no. 1 (January 28, 2020): 24–32. http://dx.doi.org/10.36099/ajahss.3.1.4.

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The image of African women has evolved over the years. The study traced and critically analyzed how African female persona and experience have been depicted starting from pre-colonial, colonial to postcolonial eras using selected literary texts. It highlighted the impacts made by feminist writers towards a re-definition of the African woman. The theoretical framework was hinged on Feminist theory. Feminism, feminist ideologies and their proponents were also highlighted. The research revealed that the image of pre-colonial and colonial African women as portrayed in Chinua Achebe’s Things Fall Apart and Arrow of God, Elechi Amadi’s The Concubine, Wole Soyinka’s The Lion and the Jewel, Flora Nwapa’s Efuru, El Saadawi’s The Woman at Point Zero, Mariama Ba’s So Long a Letter among others was ascribed a second class status. The Postcolonial African women have come to the awareness of their rights and roles through the numerous intellectual and political campaigns of African feminist writers. Their image has changed from being in the kitchen, bearing and rearing children to also shouldering responsibilities as most powerful men in the community as depicted in Chinua Achebe’s Anthills of the Savannah, Chimamanda Adichie’s Half of the Yellow Sun among others. The study recommended the acquisition of good education and self-development as the major strategies to confront the impediments orchestrated by patriarchy.

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Muneeni, Jeremiah Mutuku, Justus Kizito Siboe Makokha, and Esther Katheu Mbithi. "Transmutation and Temporality: Shifting Figures of African Women in Jennifer Makumbi’s Historical Novel Kintu (2014)." International Journal of Linguistics, Literature and Translation 4, no. 2 (March 2, 2021): 215–22. http://dx.doi.org/10.32996/ijllt.2021.4.2.25.

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The role of African women writers in employing the unique style of presenting several generations of women characters in the same historical novel to narrate how the world of women has been transformed across time cannot be naysaid. Through this style, female authors have been able to re-examine, re-construct, re-structure and re-invent the (mis)representation of female gender as construed by male authors who were the first to acquire formal education and embark in creative writing. Thus the choice of this distinctive style often serves as an important marker of backdating the true depiction of women across the historical trajectory as well as demonstrating the gainful transmutation that women have gone through towards their liberation from the chains of patriarchy. Among the African women writers who have adopted this style is Jeniffer Makumbi the author of Kintu. Grounded in both New historicist and feminist theoretical frameworks, we interrogate how women have gradually and gainfully changed towards liberation across the four epochs specific to Africa; namely: Pre-colonial, Colonial, postcolonial and contemporary. Using purposively selected Jenniffer Makumbi’s novel – Kintu – the article provides a textual analysis of the behaviours, speeches and actions exhibited by different generations of female characters who fall within the aforementioned epochs to demonstrate their historical transmutation towards liberation.

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Browne, Ray B. "Encyclopedia of African American Women Writers by Yolanda Williams Page, Editor." Journal of American Culture 30, no. 3 (September 2007): 338. http://dx.doi.org/10.1111/j.1542-734x.2007.00569.x.

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Connor, Kimberly Rae. "Book Review: Transforming Scriptures: African American Women Writers and the Bible." Christianity & Literature 60, no. 3 (June 2011): 482–85. http://dx.doi.org/10.1177/014833311106000316.

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Kundi, Dr Minu. "Representation of Marginalization in the Life Writing of African American Women Writers." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 172–91. http://dx.doi.org/10.24113/ijellh.v9i1.10890.

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The process of imperialism and colonialism was established on the covert idea of economic and political exploitation of the underdeveloped eastern cultures by the dominant west. With the process of decolonization, the marginalized and the poor have been given a centre space alongwith the reversal of the order where those who were the object for centuries, suddenly refuse to be subjected to misrepresentation and domination, and begin to constitute their own discourses. Literature serves as a medium of honest self expression and platform to express the true self for women. American society has triply disempowered and disenfranchised African American women on the basis of race, gender and class. Many African American women writers attempt to break down traditional structures and dislocate narrative strategies in order to re-examine subject identity and to demonstrate the complexity of female experience. By writing about their lives the marginalized are valorized and their oppression turns into empowerment. Life writing helps females to explore subjectivity and to assume authorship of their own life. The account of the life of African American women writers chronicles their frequent encounters with racism, sexism and classism as they describe the people, events and personal qualities that helped them to survive the devastating effects of their environment.

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Łobodziec, Agnieszka. "Intersections of African-American Womanist Literary Approaches and Paradigms of Ethical Literary Criticism." Interlitteraria 22, no. 2 (January 16, 2018): 297. http://dx.doi.org/10.12697/il.2017.22.2.8.

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Although black American womanist literary perspectives and ethical literary criticism theory emerged from different socio-cultural contexts, a number of intersections between the two can be discerned. One of the objectives of this paper is to analyze the reasons for which some Chinese scholars and African-American women literary theoreticians are skeptical of mainstream Western literary criticism schools, which they view as insufficient for exploring works of literature derived from fusions of non-Western and Western cultural contexts. Secondly, the paper elucidates the particular value systems exhibited by fictional characters portrayed by the African-American women writers under survey. At this juncture, the means by which the writers challenge value systems based upon Western essentialist racial conceptualizations will be given primary attention. Also, the historical context of the development of womanist ethics and literary practice, particularly the manifestation of original social ethics in response to historical oppression, will be focused upon. Lastly, the didactic function of womanist literature will be considered because, more often than not, black American woman writers have endeavored to produce fiction that serves as guideposts towards conflict resolutions, involving, to a great extent, revaluation of mainstream values.

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Gallego, Mar. "Sexuality and Healing in the African Diaspora: A Transnational Approach to Toni Morrison and Gyasi." Humanities 8, no. 4 (December 10, 2019): 183. http://dx.doi.org/10.3390/h8040183.

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This article examines the literary production of two writers from the African diaspora, specifically African American Toni Morrison’s A Mercy (2008), and Ghanaian-American Yaa Gyasi’s Homegoing (2016), to explore their significance as counter-narratives that defy the “official” historiography of enslavement times in order to set the records straight, as it were. By highlighting these women writers’ project of resistance against normative definitions of black bodies, it is my contention that these works effectively mobilize notions of race, gender, and sexuality. Revisiting the harmful and denigrating legacy of stereotypical designation of enslaved women, these writers make significant political and literary interventions to facilitate the recovery, wholeness, and sanctity of the violated and abjected black body. In their attempt to counter ongoing processes of commodification, exploitation, fetishization, and sexualization, I argue that these writers chronicle new forms of identity and agency that promote individual and generational healing and care as forms of protest and resistance against toxic definitions of hegemonic gender and sexuality.

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Haddad, Beverley. "The South African Women’s Theological Project: Practices of Solidarity and Degrees of Separation in the Context of the HIV Epidemic." Religion & Theology 20, no. 1-2 (2013): 2–18. http://dx.doi.org/10.1163/15743012-12341248.

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Abstract It has previously been argued that the HIV epidemic is the new kairos in South Africa. The Circle of African Women Theologians has been at the forefront of theologising this crisis, particularly as it affects women. This article seeks to analyse the HIV work of six South African Circle writers namely, Denise Ackermann, Christina Landman, Madipoane Masenya, Sarojini Nadar, Miranda Pillay and Beverley Haddad. The focus of this analysis revolves around the “degrees of separation and practices of solidarity” inherent in their work. The first part of the article deals with each theologian in turn. It then identifies common threads and differences in their work employing the methodological framework of African women’s theology as outlined by Sarojini Nadar and Isabel Phiri. The article concludes with a discussion of the particularities of the South African women’s theological project and argues that the work of these six women does not deal sufficiently with “difference” or “solidarity” thus limiting their influence on the political HIV project.

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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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Griffiths, Claire H. "AFRICAN WOMEN WRITERS : CONFIGURING CHANGE AT THE INTERFACE OF POLITICS AND FICTION." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 5, no. 1 (November 9, 2011): 1. http://dx.doi.org/10.18352/relief.651.

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BOEHMER, ELLEKE. "WITHOUT THE WEST: 1990s SOUTHERN AFRICAN AND INDIAN WOMEN WRITERS—A CONVERSATION?" English Studies in Africa 43, no. 2 (January 2000): 81–94. http://dx.doi.org/10.1080/00138390008691296.

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Cailler, Bernadette. "Francophone African Women Writers. Destroying the Emptiness of Silence (review)." L'Esprit Créateur 36, no. 2 (1996): 123–24. http://dx.doi.org/10.1353/esp.0.0107.

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Mphahlele, Mante. "A gesture of defiance: Selected texts by Black South African women writers." Journal of Literary Studies 18, no. 1-2 (June 1, 2002): 168–81. http://dx.doi.org/10.1080/02564710208530295.

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Khan, Khatija BiBi. "“Breakthroughs”: Engaging Literary “Voices” of Women Writers from the Southern African Region." Journal of Literary Studies 32, no. 1 (January 2, 2016): 1–16. http://dx.doi.org/10.1080/02564718.2016.1158979.

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Uimonen, Paula. "Muse and Power: African Women Writers and Digital Infrastructure in World Literature." Anthropology and Humanism 44, no. 1 (May 12, 2019): 20–37. http://dx.doi.org/10.1111/anhu.12236.

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Rice, Alison. "Activistes féministes: Francophone Women Writers and International Human Rights." French Cultural Studies 31, no. 4 (October 21, 2020): 318–28. http://dx.doi.org/10.1177/0957155820961639.

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Several prominent contemporary Francophone women writers have embraced activism in compelling forms. In her written creations, Maïssa Bey from Algeria has continually called attention to the lack of women’s rights in her homeland; she has also initiated writing workshops for women to reflect and express themselves. Fatou Diome, who left Senegal for Strasbourg, has shed light in her work on racism and sexism that African immigrants often face in Europe, and she has created an association in her homeland to help individuals become financially solvent. Yanick Lahens from Haiti has similarly devoted herself to activist endeavours on her island, including co-founding a library and working with youth after the earthquake. As these authors seek to create compassion through writing, they also promote empathy through their engagement outside the text, empowering people of various backgrounds by providing them with literacy skills, business acumen, and a sense that their story matters.

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Nutsukpo, Margaret Fafa. "Women, protest and social change in Julie Okoh’s Edewede." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 9, no. 1 (April 28, 2020): 28–40. http://dx.doi.org/10.4314/laligens.v9i1.3.

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The 21st century African society is rife with oppressive and retrogressive customs and values that oppress and subjugate women. As a result, African women writers have embraced literary forms and subjects that highlight these issues and advocate for their elimination from society. Among these writers is Julie Okoh, a playwright, who projects her concerns about the dangers of female circumcision in her play, Edewede. Using feminism as a theoretical framework, this article interrogates Okoh’s adoption of the principles of two opposing feminist perspectives─African and radical feminism─with a view to revealing their impact in rousing her female characters from subservience, ignorance and passivity, to revolt against their oppression through social protest. It is discovered that education, consciousness-raising, sisterhood, female solidarity and resilience are powerful tools for women’s empowerment in the play. It is recommended that women should not be context bound in their choice and expression of feminist perspectives, strategies or weapons in the fight against gender inequality, oppression and exploitation; they should be open to contemporary avenues and progressive choices that will pave the way to their emancipation and social change.

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Ashenafi Aboye. "Patriarchy in Buchi Emecheta’s The Slave Girl and Bessie Head’s A Question of Power: A Gynocentric Approach." Ethiopian Journal of the Social Sciences and Humanities 16, no. 2 (April 15, 2021): 1–25. http://dx.doi.org/10.4314/ejossah.v16i2.1.

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African literature has been dominated by male African writers. However, there are a number of female African writers who contributed to the literary landscape of the continent significantly. In line with this, researches that deal with issues of gender in African literature are increasing (Fonchingong, 2006; Salami-Boukari, 2012; Stratton, 1994). In this study, I aim to expose patriarchal oppression in two selected post-colonial African novels. I ask “How do postcolonial African female writers expose gender oppression and patriarchy in their novels?” I ask how the female characters in the selected novels resist patriarchal dominance and oppression. I seek to uncover any thematic patterns and/or overlaps that would emerge across the selected novels. To achieve this, I analyze two feminist Anglophone African novels by female writers of the continent, namely ‘The Slave Girl’ and ‘A Question of Power’. Gynocentrism is used as an approach to achieve this purpose. The analyses of the novels make it feel that patriarchy is used as a tool to stabilize the discrimination of the feminine gender. The heroines in both novels are found to be patriarchal women with some attempt to reverse the gender order. The major female characters in the novels stand against the intersectional discrimination of the feminine from the male personhood, religion, as well as colonial culture. These discussions about patriarchy revive the vitality of African feminist novels to the present readers.

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Keizer, Arlene R. "Gone Astray in the Flesh: Kara Walker, Black Women Writers, and African American Postmemory." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1649–72. http://dx.doi.org/10.1632/pmla.2008.123.5.1649.

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In the vigorous debate over Kara Walker's art—in particular, her life-size, black-on-white depictions of psychosexual fantasies seeded by American slavery—much attention has been paid to the objections raised by African American artists belonging to a generation older than Walker's. These older artists, including Betye Saar, Faith Ringgold, and Howardena Pindell, as well as commentators like Juliette Bowles, are often highlighted as Walker's main detractors, rendering the attack on her work a form of internecine, intergenerational warfare in African American intellectual and cultural life. This articulation of the debate obscures the extent to which themes and figures in Walker's oeuvre link it to the work of numerous African American women whose writing began to appear in the early 1970s. Walker is connected to literary counterparts like Gayl Jones, Carolivia Herron, Alice Randall, and Octavia Butler through her construction of characters marked by their sexual involvement with the master class. How these characters manage a set of exploitative relationships—in other words, how they explore their sexualities in the context of coercion—establishes them as a literary and visual sisterhood. Because Walker's silhouettes and other creations have been exhibited to large, integrated audiences in some of the most august international and domestic museums, they have provoked more comment and wider protests than the novels of contemporary African American women writers, but the differences in cultural reception mask the deep similarity between these bodies of work.

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Lakshmi, K. Srividya. "Alice Walker’s Perspective of Empowerment of Black Women as Revealed in her Novel “The Third Life of Grange Copeland”." SMART MOVES JOURNAL IJELLH 8, no. 5 (May 28, 2020): 51. http://dx.doi.org/10.24113/ijellh.v8i5.10581.

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Alice Walker is a Black American novelist, essayist, short story writer, poetic, critic, biographer, editor and Pulitzer Prize laureate. Alice Walker captures the experience of Black women in her works as a series of movements from women who are victimized by the society to women who have taken control of their lives consciously. She has explored the lives of Black women in depth even questions their fate. She has courage to see through the seeds of time and declares that in future black women would no longer live in suspension. “The Third Life of Grange Copeland” (1970) was the first novel of Alice Walker. The focus is on Black women characters in The Third Life who empower themselves through education and economic independence. This novel introduces the domination of powerless women by equally powerless men. The novel challenges African Americans to take a scrutinizing look at them. Mary Margaret Richards observes that “The Oldest generation represented by Grange finds itself trapped in a share cropper system… a form of slavery (African –American Writers, p.744). The novel introduces many of her prevalent themes, particularly the domination of powerless women by equally powerless men.

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Huber, Lynn. "Transforming Scriptures: African American Women Writers and the Bible, by Katherine Clay Bassard." Relegere: Studies in Religion and Reception 1, no. 2 (2011): 438–42. http://dx.doi.org/10.11157/rsrr1-2-551.

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Nkealah, Naomi. "Reconciling Arabo-Islamic culture and feminist consciousness in North African women’s writing: Silence and voice in the short stories of Alifa Rifaat and Assia Djebar." Tydskrif vir Letterkunde 45, no. 1 (February 15, 2018): 19–41. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4459.

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This article sets out to explore the theme of silence and voice in selected short stories by two North African women writers, Alifa Rifaat and Assia Djebar. In their representations of women’s lives in Egypt and Algeria, respectively, both Rifaat and Djebar present different strategies employed by women to counter gender oppression. Although the female characters portrayed by both writers encounter diverse, and sometimes opposing, circumstances, they tend to share a common plight – the need to break free from the constricting fetters of patriarchy. A comparative reading of selected stories reveals that Rifaat’s characters resort to silence as a means of self-preservation, while Djebar’s characters, on the other hand, use techniques ranging from writing to outright protest to show their rejection of gender-based segregation. In spite of this difference in approach, it can be said that both Rifaat and Djebar have made a great contribution to feminist literary creativity in North Africa.

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Nandhini, C., and K. S. Mangayarkkarasi. "Mildred D. Taylor’s Song of the Tree: Role of Women in Protection of Nature." Shanlax International Journal of English 9, S1-i2-Dec (December 22, 2020): 15–17. http://dx.doi.org/10.34293/english.v9is1-i2-dec.3683.

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Equal to man, every woman plays an important role in maintaining natural resources management and they have the respective knowledge and experience gained through close working with environment. Even in this present condition still some writers in their work concentrate on Nature and its importance. African American Literature, the body of the literature that produced in the United States by writers of African descent, highly concentrates on slavery before the American Civil War. Their oral culture is rich in poetry that includes spirituals, gospel, music, blues, and rap. Mildred D. Taylor is an author of nine novels including The Road to Memphis and most of her works known for social issues, mainly the problem faces by African American society. Song of the Trees originally published on 1975 is her first highly acclaimed series of books about the Logan family. The Novella is all about Racism, ruling the place and how the Hunger plays a vital role in the place. This paper highly shows that even in this pathetic condition how the female characters like Caroline, Mary, and Cassie struggle to protect nature and their environment from Mr. Anderson.

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Journal articles on the topic 'African Women Writers'

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