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1
Khamis, Said A. M. "The Swahili novelist at the crossroad: the dilemma of identity and fecundity." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91101.
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\"Are there any national literatures in black Africa yet? The simple answer is no. [...] If one examines the development of the African language literature that do exists, one is struck by certain recurring tendencies. Many of the books produced, particularly the early works, are of a predominantly moralistic nature. Sometimes they are retelling of folk stories or Bible stories, sometimes imitations of European religious literature, sometimes both.\\\" (Lindfors 1997: 121; 123)
Certain anomalies are obvious in the above extract. Swahili written literature with its long-standing tradition, dating far back to the 17th century, has relativly gathered its own aesthetic criteria, values and sensibility, hence \\\'own\\\' integrity and world view. I dare say that Lindfors will be suprised to learn today, how fast the Swahili novel has developed since when he had left it when he read Andrzejewski et al (1985) and Gérard (1981), who (by the way), themselves did not then see the their works as presenting a complete picture of African literatures in African languages.
This essay aims at showing the predicament of the Swahili novelist at the crossroads and how, in a contemporary situation, s/he works out his or her strategies towards resolving the impasses.
2
Khamis, Said A. M. "The Swahili novelist at the crossroad: the dilemma of identity and fecundity." Swahili Forum 14 (2007), S. 165-180, 2007. https://ul.qucosa.de/id/qucosa%3A11501.
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\"Are there any national literatures in black Africa yet? The simple answer is no. [...] If one examines the development of the African language literature that do exists, one is struck by certain recurring tendencies. Many of the books produced, particularly the early works, are of a predominantly moralistic nature. Sometimes they are retelling of folk stories or Bible stories, sometimes imitations of European religious literature, sometimes both.\\\" (Lindfors 1997: 121; 123)
Certain anomalies are obvious in the above extract. Swahili written literature with its long-standing tradition, dating far back to the 17th century, has relativly gathered its own aesthetic criteria, values and sensibility, hence \\\''own\\\'' integrity and world view. I dare say that Lindfors will be suprised to learn today, how fast the Swahili novel has developed since when he had left it when he read Andrzejewski et al (1985) and Gérard (1981), who (by the way), themselves did not then see the their works as presenting a complete picture of African literatures in African languages.
This essay aims at showing the predicament of the Swahili novelist at the crossroads and how, in a contemporary situation, s/he works out his or her strategies towards resolving the impasses.
3
Frankl, P. J. L. "Issa Nasser Issa AI-Ismaily. 1999. Zanzibar: Kinyang`anyiro na utumwa [Slavery and the Scramble for Zanzibar]. Ruwi (Oman). xlii + kurasa 285." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97732.
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4
Bertoncini-Zúbovká, Elena. "Kenyan literary Kiswahili." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-92213.
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Until the Eighties the regional character of Kenyan prose writing was far less marked than that of Zanzibari novels. Different was the situation in poetry; in fact, Kimvita and Kiamu have been used even in modern times (see, e.g., Ahmad Nassir Juma Bhalo, Abdilatif Abdalla and Ahmed Sheikh Nabhany; the last one is well-known for his endeavour in enriching and modernizing Swahili terminology, and a few of his proposed terms, e. g. runinga for `television`, have been accepted). Kenyan prose fiction, on the other hand, used to be much alike to the up-country Tanzanian literary production, written as it was in standard Swahili, sometimes with many colloquial features.
5
Geider, Thomas. "A bibliography of Swahili literature, culture and history." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91490.
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The present alphabetical Bibliography ranging from `Abdalla` to `Zhukov` includes old and new titles on Swahili Literature, Linguistics, Culture and History. Swahili Studies or \'Swahilistics\' have grown strong since the mid-1980s when scholars started to increasingly engage in international networking, first by communicating through the newsletter Swahili Language and Society: Notes and News from Vienna (Nos. 1.1984-9.1992) and Antwerp (No. 10.1993) and then through the journal Swahili Forum published at the University of Cologne (Nos. I. 1994 - IX. 2002), not to mention the numerous conferences held in Dar es Salaam, Nairobi, London, Bayreuth and other places, and not to forget the achievements of the journal Kiswahili from Dar es Salaam as another steady medium of Swahili scholarship. Of course, this Bibliography is not the only one: other useful and specialized bibliographical information appeared in articles, surveys, reference books and larger studies, which are indicated in the following. Part of the titles have been extracted from these sources and integrated into the present Bibliography after having had a physical look at them. As this was not always possible, it seems still to be advisable and necessary to consult the indicated sources themselves when it comes to selecting one\'s base of research literature.
6
Wamitila, Kyallo Wadi. "What`s in a name: towards literary onomastics in Kiswahili literature." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91911.
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A mention of name in literature is almost always likely to recall the question Juliet posed to Romeo about his family name Montague in William Shakespeare´s Romeo and Juliet. In reading creative works we tend to identify characters basically by the names given to them. It is on this basic premise that some character analysis methods tend to define characters by taking recourse to their names and sometimes identifying them in metaphorical terms or as speaking names. Names play a very central and important role in any reading exercise and so would certainly the names given to characters be of importance to us. These are linguistic or semiotic signs that play a very crucial role in the overall linguistic structure of a literary text or its signification. Decoding of the names therefore becomes an important critical engagement in as far as it helps the reader in his deciphering of the text in which the names are. Characters´ names, as this article will show, can be used artistically to achieve a number of goals like encoding a central trait in a particular character´s signification, embracing crucial thematic motifs, ideological toning as well as even showing the particular writer´s point of view. Some of these qualities are easily lost in translation.
7
Wamitila, Kyallo Wadi. "A philosophical labyrinth: tracing two critical motifs in Kezilahabi´s prose works." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-93522.
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This study aims at studying one of the most important contemporary Kiswahili writers: Euphrase Kezilahabi. In a way this paper can be seen as a continuation of my earlier articles on the same writer. It is definitely different from the other ones though a certain thread links them: the interest in Kezilahabi`s philosophy. In this paper my interest is with two main motifs namely contemptus mundi and carpe diem. Contemptus mundi is a Latin expression for contemptible world, world as a bad place and one that is perceived contemptuously. I intend to explore the said motifs in Kezilahabi\'s prose works: Rosa Mistika, Kichwamaji, Gamba la Nyoka, Dunia Uwanja wa Fujo, Nagana and Mzingile. The latter two works are slightly short, lacking the novel length of the other four works. I do not, however, want to entangle myself in the polemics of genre as to what a novel or novella is. I will, however, regard the two as novellas at least by the virtue of their length.
8
Ngugi, Pamela M. Y. "Nafasi ya muziki uliopendwa katika fasihi ya kiswahili." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98110.
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Nyimbo, kama tanzu ya fasihi yeyote ile zina majukumu mbalimbali
ambayo hutekeleza katika jamii. Lengo kuu la fasihi ni lile la kuielimisha
na hata kuiburudisha jamii. Ndivyo ilivyo katika nyimbo kwa sababu
kupitia kwazo wanajamii huburudika na kuelimishwa. Ni kwa sababu
hiyo ndipo makala hii inalenga kuangalia nafasi ya nyimbo
zinazopendwa katika fasihi ya Kiswahili. Huu ni utanzu ambao
huwafikia watu wengi katika jamii. Kutokana na kutumia lugha ya
Kiswahili, utanzu huu unaweza kueleweka na Wakenya wengi. Nchini
Kenya, vyombo vya habari vimeipa fasihi hii nafasi kubwa sana na hivyo
basi kuipanua hadhira yake. Hii ni kutokana na sababu kuwa fasihi hii
inathaminiwa sana na wengi na ipewe nafasi kubwa katika vyombo vya
habari hasa katika redio kwa muda mrefu. Ni kutokana na sababu hii
ndipo tunajaribu kuonyesha nafasi yake katika fasihi ya Kiswahili.
9
Khamis, Said A. M. "Implication as a literary technique in Mohamed S. Mohamed`s novels: Kiu and Nyota ya Rehema." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-93535.
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Reading Mohamed´s novels Kiu (`Thirst´; 1972) and Nyota ya Rehema (`The Star ofRehema´or `The Destiny of Rehema´; 1976), one is struck by abundant use of `implication´ technique. Implication is regarded as a feature that is statistically more frequent in poetry than in prose, hence the presence of this technique in abundance in Mohamed´s idiom, renders it a quality of poetic prose. The purpose of this paper is therefore to show how various linguistic features are used as vehicle for the realisation of the implication technique used to create exponents for the semantic structure in his novels. Exponents as literary devices need not be implicit as in Mohamed`s idiom, however if used implicitly, they form an artistically engineered correlation with literary substance of the novel and gives it a certain quality that affects our `attitude´ and `judgement` towards it. Hence in this paper we hold it that the reader`s involvement in the interpretation of the novel eventually entails the decoding of the corpus for the externalisation of the literary substance. A reader who is fully involved in the interpretation and processing of implied meaning(s) in the novel, digs into its semantic structure by condation and deduction and comes out with more lasting impressions than he would if he were to deal with a less subtle or totally explicit idiom that may be regarded as plain and spoon-feeding.
10
Ogechi, Nathan Oyori. "Publishing in Kiswahili and indigenous languages for enhanced adult literacy in Kenya." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91659.
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This paper argues a case for the preparation of reading materials in Kiswahili and other African languages in order to enhance adult education in Kenya. Adult education clientele are defined as those aged over 15 who (a) were either never enrolled in primary schools or dropped out before completing and (b) `graduated` and currently participate in community extension services. Cognisance of mothertongues as the best languages to begin basic literacy is taken. However, since the literacy so acquired should be useful to the individual at both local and national levels, one needs Kiswahili for wider communication. Therefore, reading materials, especially for post literacy and adult literacy teacher training should be in Kiswahili. This will not only guard against relapsing to illiteracy and misinformation but will also alleviate the scarcity of reading materials in the face of hard economic times in Kenya.
11
Rettová, Alena. "Lidství utu? Ubinadamu baina ya tamaduni." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97671.
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Taking its depature point in a translation of a play by a Czech playwright and philosopher, Václav Havel, into Swahili, the article strives at a cross-cultural comparison of a pivotal concept of Havel`s thought, lidství (`humanity´), and an equally central concept of Swahili moral and philosophical thought, utu. The basis of this copmparison is, on the Czech side, an explanation of Havel`s concept and its grounding in existentialist philosophy. The Swahili side is presented in a two-step procedure. First, the semantic field of `humanity´in the Swahili language, comprising utu and several concepts related to it (especially ubinadamu), is analyzed. Second, the concepts belonging to the semantic field of utu are traced in the development of Swahili literature, as a prominent representative of intellecual discourses in the Swahili culture.
12
Rettová, Alena. "`The best of all possible worlds´?" Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97690.
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The German philosopher and mathematican Gottfried Wilhelm Leibnitz, maintained that this world god created was the best of all possible worlds. God could not have created a world that would contain a contradiction. In Descartes`opossed view, it was possible for God to create a world containing contradictions. The two philosophers`s dispute concerned the issue of what is it that is necessary, as opossed to that which is arbitrary, in a created world. Against this background, I would like to discuss William E. Mkufya`s novel, Ziraili na Zirani.
13
Bertoncini-Zúbková, Elena. "`Nyoko-Nyoko`: an unpublished short story by Saad Yahyai." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91601.
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Saad Yahya, born in Zanzibar in 1939, studied architecture and town planning in Great Britain and in Canada; since 1968 he has lectured at the University of Nairobi. He portrays everyday life of typical inhabitants of Zanzibar and Nairobi, displaying a penetrating understanding of their problems and of their state of mind, linked with a remarkable stylistic ability. He is an acute observer who presents his characters with humour and irony, but also with a profound insight. Furthermore, in his stories, under the surface of everyday activities there is always some hidden antagonism or passion, never spelled out, but only alluded to.
Several years ago Yahya sent me the manuscript of two other stories which I hoped to translate and publish in Italy, but ultimately it was not possible. I have included one of them, called Nyoko-nyoko and consisting in five typewritten pages, in the syllabus of my literary courses in Naples and in Paris. It is a rare - if not unique - Swahili story in which the main character is a Mzungu, a white man: the British governor of an imaginary East-Aftican country called Nyalia, who has to abandon his post suddenly for unspecified reasons. He regrets to must leave the country he has learned to know and to like; however, behind the mask of liberality and tolerance is hidden a self-conceited racist. The story describes his last day in Africa after a long stay.
14
Diegner, Lutz. "Allegories in Euphrase Kezilahabi`s early novels." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91373.
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The aim of this article is to analyse allegories in the first four novels of the Swahili-writing author Euphrase Kezilahabi who is one of the most renowned authors in contemporary Tanzania. This analysis will be based on allegory as it is defined in literary studies. What is aimed at with this study is a hermeneutical interpretative approach to the allegories found in Kezilahabi`s early novels which shall be based on as much contexts as available: text-context, intertextual context, cultural context, historical context, only to mention the most important (cf. Mohlig 1994: 257). The text-context or co-text, however, is considered as the most reliable basis of such a study.
15
Zhukov, Andrei. "Shaaban Robert in the Russian language." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97835.
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Marehemu Shaaban Robert is well-known in Russia not only among specialists, but also in the circles of the reading public at large. It was in Russian (the only European language) in which Shaaban Robert´s prose writings were translated for the first time for the general reader. The creative work of Shaaban Robert occupies a special place in the scientific research of Russian scholars. They regard him as a philosopher, a distinguished public figure, a founder of modern literature in Kiswahili who connects centuries-old traditions of Swahili oral and written literature with the demands of modern times. Affirming new social ideals and expressing views of the new intellectual elite, Shaaban Robert, through his literary works, directly participated in the development of the political and philosophical ideas of his country.
16
Gromov, Mikhail D. "Nagona and Mzingile - novel, tale or parable?" Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-93517.
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Since the very moment of their appearance two recent works of Euphrase Kezilahabi- Nagana (1990) and Mzingile (1991)- hold a very special place in the whole development ofKiswahili literature, giving a lot of puzzles for the reader and a lot of material for the scholars of literature. I\' m going to dwell upon only one aspect of the book - its generic origin; for I think that this question will sooner or later arise. To this effect, I would dare first narrate - very briefly - the contents of the book I would refer to it as `the book´, although it actually consists of two parts - but these parts are so closely related to each other, that it seems possible to speak of Nagana and Mzingile as one piece of work. To what literary genre shall we ascribe the latest work of Tanzania` s leading writer? I would dare to come forward with such a question, because within the structure of the book there seem to be at least four more or less easily tangible stylistic plans. The first one I would call a folkloristic plan, for Kezilahabi uses widely and vividly the elements of African folklore - from mythological concepts to folklore plots, inserted into the narration. The second stylistic plan of the book can be called that of a parable - a parable in the sense of a self-contained story conveying didactic message to a reader or a listener. The book is full of such stories. The next stylistic plan one can call that of science-fiction - or, I would rather say, of antiutopia, for the author draws apocalyptic pictures of the world after the nuclear war, implyin the technique inherent to science-fiction novels. Finally, another stylistic plan of the book can be called realistic - for the author gives, for example, the descriptions of modern city, where the Msichana-Mwokozi dwells, or of an African village, when he tells about the childhood of the main character, using the traditions of east African realistic novel, portraying shortly but vividly urban and rural life. I would say that this realistic plan takes smaller place than the other three - but it is by no means less noticeable.
17
Aiello, Traoré Flavia. "Mabadiliko ni maumbile yenyewe." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-92223.
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The Swahili novel, a literary genre lately appeared in Tanzania, has undoubtedly found a brilliant and mature expression in the works of the Zanzibarian writer Said Ahmed Mohamed. His novel Utengano, published in 1980, is a unique work in the Swahili literary production of the Seventies and Eighties, with regard to both the themes treated and the very elaborated style of the author, who has given a dense and homogeneous quality to this genre, which is by definition open and composite, totally different from the short story, the organisation of different elements representing a challenge to the capacities of a writer in terms of composition. In this paper I will focus on a feature of Utengano which, in my view, points out to the good achievement of a novel, namely the author`s utterance of a leitmotiv or general abstract idea creating cross-references and symbolic relations between the different levels of a literary text. The leitmotiv I found in Utengano is the idea of dynamism, in other words motion, energy that produces changes, which permeates the whole work unifying the different levels of expression. These latter will be analysed separately to allow a clear exposition, but the dialectical relationship between the `what` and the `how´ represents the key to the reading of this novel.
18
Sakkos, Tiina. "Existentialism and feminism in Kezilahabi`s novel Kichwamaji." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94160.
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Makala hii inachambua riwaya ya pili ya mwandishi maarufu wa Kiswahili, Euphrase Kezilahabi (*1944) iitwayo Kichwamaji (1974). Inajaribu kuzingatia mikondo miwili ya uchambuzi yaani inajadili kwa ufupi nadharia ipi au mkondo upi wa kimawazo unafaa zaidi katika kuichambua riwaya hiyo: udhanaishi au ufeministi. Je, inawezekana kuunganisha yote mawili?In this essay, I would like to analyse the novel Kichwamaji (‘Empty-head’; 1974) by the well-known Tanzanian writer Euphrase Kezilahabi against the background of two philosophical theories: existentialism and feminism. I will first discuss existentialism and the existentialist elements in the novel. Then I will present feminist theory and focus on the female characters in Kichwamaji. I will argue that a feminist reading of the novel is impossible due to its predominant existentialist character
19
Traoré, Flavia Aiello. "Investigating topics and style in Vuta N`Kuvute by Shafi Adam Shafi." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91363.
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In the last decades many literary critics have appraised the works of Zanzibarian writers; referring to the prose of Mohamed Suleiman Mohamed, Said Ahmed Mohamed and Shafi Adam Shafi, M M. Mulokozi wrote in 1985: \"The most significant, and certainly most spectacular, development in the Swahili fiction of the Seventies and Eighties has been the emergence of Zanzibar as the producer of the best Swahili fiction to date, and the apparent torch bearer for the Kiswahili novel of the near future\" (Arnold 1985: 174). The same enthusiasm was shared by R. Ohly who, confronting the novels written by Zanzibarian writers and those by Tanzanian and Kenyan writers in a time span going from 1975 to 1981, has defined the Zanzibarian prose a challenge to the artistic competence of other Swahili writers (cf. Ohly 1990).
Although I found the comparative pattern used by Ohly debatable, having concentrated for the up-country literary production only on popular short novels - to be better evaluated not following negative, contrastive cliches but within the context of that particular trend -, obscuring moreover other talented writers like Euphrase Kezilahabi or Claude Mung`ong`o, his criticism has nevertheless the merit of having highlighted the main qualities of Zanzibarian novels, namely a deep interest for historical and social matters, along with an extremely rich and colourful language and a serious concern for stylistic features. These attributes of Zanzibarian literary style fit very well to the last novel by Shafi Adam Shafi, Vuta n`kuvute, published in 1999; in the following pages my aim is to explore the way the author of this work artistically manipulates themes, literary suggestions and stylistic devices, re-elaborating thus the experience of Kiswahili and Zanzibarian prose in a creative way.
20
Řehák, Vilém. "Kazimoto and Meursault: `Brothers´in despair and loneliness." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97684.
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Makala haya yanashughulikia maswahli ya udhanaishi katika fasihi ya Kiswahili. Makala yanalinganisha riwaya mbili, Mgeni ya mwandishi wa Kifaransa anayeitwa Albert Camus na Kichwamachi ya mwandishi wa Kiwahili, Euphrase Kezilahabi, na kuonyesha jinsi riwaya hizo zinayofanana na zinavyotofautiana. Kwa vile Kichwamaji inafanana na Mgeni, ni sahihi humwita Kezilahabi mwandishi ya udhanaishi, lakini kuna tofauti nyingi pia baina ya riwaya hizo mbili. Tofauti moja ni kwamba Albert Camus anamtazama mtu peke yake na hali yake iliyotengwa kabisa na watu wengine, na Kezilahabi, licha ya mtu peke yake, anaizingatia jamii nzima na hali yake vilevile. Tofauti hii ni tokeo la sifa za communalism katika mawazo Kiafrika ya kimapokeo yanayotilia mkazo jamaa na jami, siyo mtu peke yakeThis article analyses and compares the the two writings Kichwamaji by Euphrase Kezilahabi and L´etranger by Albert Camus. Written in the tradition of existentialism, the two writings have many similarities but also differ in some important aspects. While Camus sees the individual just by itself, Kezilahabi also includes the whole family and is writing with it in the tradition of the african communalism
21
Mezger, Sonja. "Roman Catholic faith represented in Kezilahabi`s Mzingile." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91383.
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This study elaborates how Kezilahabi depicts elements of Roman Catholic faith in his book Mzingile. Throughout the book religious institutions and the image of God are deconstructed. Nevertheless, Kezilahabi uses images derived from the Bible and Roman Catholic rituals to describe the new world order. This leads to the conclusion that the recognition of the existence of these concepts as concepts opens the way for the creation of a new world. Kezilahabi seems not to be convinced of the Roman Catholic faith being useful in search of the meaning of life. He rather builds upon the creative space, the emptiness left after the deconstruction of religious concepts.
22
Bertoncini-Zúbková, Elena. "William E. Mkufya`s lates novel Ua la Faraja: a commitment to the fight of HIV/AIDS." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91218.
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The bilingual Tanzanian writer William Eliezer Mkufya was born on the 18th of June 1953 in Tanga region. Mkufya is a self-trained writer as he had a scientific education. Ua la Faraja (The flower of consolation) won the TEPUSA best manuscript award in 2001 and was published in 2004. it is supposed to be the first part of the trilogy Maua (Flowers) in which the author commits himself to the fight against the plague of AIDS in the context of the existentialist philosophy. In more than 400 pages he presents several persons affected by this frightening disease and even if no one recovers his or her health, the author did not sink into pessimism, but presents a sign of hope, or rather a `flower of consolation`. Mkufya returns with Ua la Faraja to the realistic novel, assuming the traditional role of a teacher. Although his main concern is to convey a message explaining how to face the calamity that is affecting Africa more severely than any other part of the world, he has achieved it with an anti-melodramatic approach and with great skill.
23
Bertoncini-Zúbková, Elena. "When grandfather came to life again: Said Ahmed Mohamed`s new novel beyond realism." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91341.
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I would like to present the latest novel by Said Ahmed Mohamed, Babu alipofofuka (\'When Grandfather came to life again\'), published at the end of the last year. The mine will be only a first, preliminary and very inadequate attempt as, I am sure, this work will challenge us for quite a few years. In fact, after five realistic novels the author has adopted a new technique, turning to magic realism as he himself defines his work, but perhaps it is a too limitative definition. He depicts our world in a near future, when Tanzania and other African countries will have already undergone the process of globalization. The results are disastrous: impoverished and dulled masses are governed by a handful of immensely rich, powerful and arrogant persons mostly of foreign origin, deprived of all human qualities, who have thrown away any inhibition and deliberately sunk in all sorts of physical and moral debasement; nothing embarrasses nor frightens them anymore as they feel unpunishable.
24
Traoré, Flavia Aiello. "Translating a Swahili novel into `Kizungu`: Seperazione, the Italian edition of Said Ahmad Mohamed`s Utengano." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91265.
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This article deals with the translation into Italian of the Swahili novel Utengano by Said Ahmad Mohamed, which was published in March 2005 under the title `Seperazione`by an Italian Publishing House, Rubbettino Editiore. Translation is a very important form of intercultural communication, which can provide contact with new readers, expected and unexpected ones. In the following pages I will decribe the main features of my translation of the novel Utengano, highlighting the main differences between the first version, that I produced as an appendix to the M.A. thesis, and the manuscript that I submitted to the publishing house.
25
Nocera, Pompea. "An interpretation of Said Ahmed Mohamed`s novel Kiza katika Nuru and some aspects of translation." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91241.
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This article presents an interpretation of Said Ahmed Mohamed`s forth novel Kiza katika Nuru (1988). My aim is to show that this novel is an engaging model of modern Swahili fiction, in which the author provides a very acute perception of the contemporary social and political realities in Tanzania. The article focuses on the plot and characters, and will wouch some aspects of language usage and problems of translation. The latter aspect is derived from my work experience in translation Kiza katika Nuru into Italian: Il buio nella luce (Nocera 2004).
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Diegner, Lutz. "Intertextuality in the contemporary Swahili novel: Euphrase Kezilahabi`s Nagona and William E. Mkufya`s Ziraili na Zirani." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91226.
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This paper deals with intertextuality in two contemporary Swahili novels: Euphrase Kezilahabi`s Nagona (1987/1990) and William E. Mkufya`s Ziraili na Zirani (1999). It is a first approach to intertextual relations between these two novels. My aim is to show how the contemporary Swahili novel has further opened up its scope to universal questions of mankind.
Nagona describes the journey of an unnamed protagonist through strangely abandoned landscapes and his surrealistic experience. It is written in a puzzling style between realism and hallucination. The second work, Ziraili na Zirani, is a novel written in the style of an epic. Dwelling on its literary role models, which are Dante`s Divina Commedia (1312-1321) and Milton`s Paradise Lost (1658-1665), it describes the battle over religion. It takes the reader on a fantastic journey between heaven, paradise and hell, with several excursions to the historical and contemporary malices and catastrophes on earth.
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Schadeberg, Thilo C. "Nguo-nyingi Mkoti: Mwanzishaji wa mji wa Ngoji (Angoche)." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-97766.
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The title of this paper gives three variants of what historically is the same name:
Koti = the present-day indigenous name of Koti Island;
Ngoji = the older form of the same name;
Angoche = the official name of the town, adapted from the name of the AKoti people
EKoti is the language of Angoche, a town on the coast of Nampula Province, in Mozambique. EKoti is in most respects very similar to the neighbouring coastal varieties of Makhuwa, but it also has many lexical and morphological items that are derived from Swahili. My colleague F. U. Mucanheia, co-author of our forthcoming grammar of EKoti, has recorded a story about the origin of Koti Island and its people. In the present paper, I summarize the text of this oral tradition, and I compare it to the dynastic traditions from Angoche and to those found in the Kilwa chronicle, pointing out differences but also establishing links.
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Carovani, Anne M. "Uneigentliche Differenz." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19768.
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Die Arbeit untersucht Differenzdiskurse zu zwei historischen sozialen Identitäten im Manden (Westafrika) anhand mündlich und schriftlich tradierter Texte unterschiedlicher Sprachen (Bambara, Französisch, Deutsch, Englisch) und Genres (Reisebericht, Preislied (fasa), Epos (maana), Roman, Märchen (nsiirin), Lied (donkili)), die zwischen dem 14. bis 21. Jahrhundert erschienen sind.
Die Differenz von horon, dem Edlen, Freien und jeli, dem 'Handhaber des Wortes' wird dabei höchst unterschiedlich als komplexer Beziehungsmodus diskursiv und performativ hervorgebracht und gestaltet. Als uneigentliche Differenz bildet sie sich unter der Prämisse des Schamprinzips vor allem entlang der jeweils vorgenommenen Zuschreibungen von freigiebigem Renommee-Suchenden und erbittendem Panegyriker.
Die analysierten Texte, die den Zeitraum von Beginn des mittelalterlichen Mali-Reiches bis Mitte des 20. Jahrhunderts als intradiegetisches Setting haben, verhandeln die Differenz entsprechend spezifischer Wirkungsintentionen von einer Außenseiter-Perspektive, z.T. zur Legitimation kolonialer Absichten oder von einer Insider-Perspektive aus, um, teils politisch motiviert, das eigene kulturelle Erbe zu valorisieren oder auch um (historische) Mißstände anzuprangern. Dabei wird die Differenz von jeli und hↄrↄn unterschiedlich ausgestaltet, mit dem horon als Helden (ŋana, cεfarin), König (mansa, faama), Gastgeber (jatigi) und dem jeli als Meisterredner/sänger (ŋaara), Reputations-Verantwortlichen, Klienten des jatigi.
Literatur wie Differenz wird als rhetorischer Ort kreativer Verhandlungen, strategischer (Neu)schöpfungen betrachtet, durch welche die jeweiligen Akteure spezifische Interessen verfolgen und damit variabel an Diskursen und damit an Wirklichkeiten mitgestalten. Jeli und horon verändern sich als literarische Konstruktion in Abhängigkeit von ästhetischen und ideologischen Strategien.The present work examines discourses of difference about two historical social identities in Manden (West Africa) using oral and written literary texts of different languages (Bambara, French, German, English) and genres (travelogue, praise song (fasa), epic (maana), novel, fairy tale, song (dↄnkili)), published between the 14th to the 21st century. The difference between horon, the noble, the free, and jeli, the 'handler of the word', is produced and shaped in a highly differentiated way as a complex mode of relation(ship) in a discursive and performative manner. As an improper difference it is formed under the premise of the principle of shame, especially along the attributions made between the generous rewards seeker and the panegyrical requester. The analysed texts, which have the period from the beginning of the medieval Mali empire to the middle of the 20th century as an intradiegetic setting, negotiate the difference according to specific intended effects from an outsider perspective, eg. for purposes of legitimacy of colonial intentions or from an insider perspective, partly politically motivated, in order to valorise one's own cultural heritage or to denounce (historical) grievances. The difference between jeli and hↄrↄn appears in varying ways, with the horon as hero (ŋana, cεfarin), king (mansa, faama), host (jatigi) and the jeli as master-singer/-orator (ŋaara), reputational entrepreneur, client of a jatigi. Literature and Difference are considered both as a rhetorical place of creative negotiation, of strategic (re)creation, through which the respective actors pursue specific interests and thereby participate in shaping discourses and thus realities. The jeli, who is at the same time performer, narrator and protagonist of many narratives, and the horon, determined by his status and his ethos, change as a literary construction depending on aesthetic and ideological strategies.
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Kpoda, Daniella. "Das Bild der afrikanischen Frau in der deutschen und der französischen Kolonialliteratur und sein Gegenentwurf in der frankophonen afrikanischen Literatur der Kolonialzeit /." Frankfurt am Main : Lang, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783631584965.
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Kpoda, Daniella. "Das Bild der afrikanischen Frau in der deutschen und der französischen Kolonialliteratur und sein Gegenentwurf in der frankophonen afrikanischen Literatur der Kolonialzeit." Frankfurt am Main ; Berlin ; Bern ; Wien [u.a.] : Lang, 2009. http://catalog.hathitrust.org/api/volumes/oclc/316137469.html.
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Kpoda, Daniella. "Das Bild der afrikanischen Frau in der deutschen und der französischen Kolonialliteratur und sein Gegenentwurf in der frankophonen afrikanischen Literatur der Kolonialzeit." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/991179722/04.
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Schneider, Stefanie Maria. "Gegen-Stimmen/Gegen-Blicke : Zeitgenössische literarische (De-)Konstruktionen deutsch-afrikanischer Identitäten." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86404.
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Thesis (MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates counter-voices, counter-gazes and (de-)constructions of German-African identities in contemporary German literature. In extended application of postcolonial concepts it examines the way in which post-colonial views and counter-views on Germany and Africaare produced and how in the process alternative identities are created and negotiated. Analyzing poetry, short stories and novels by Black German authors (May Ayim, Ika Hügel-Marshall, ManuEla Ritz and Olumide Popoola) as well as by African literary voices writing in German (El Loko, Daniel Mepin, Philomène Atyame and Luc Degla), the thesis looks at and evaluates strategies of literary hybridization, responses to and deconstructions of the colonial imaginary, transcultural positioning and world literary perspectives.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek enkele teenstemme, teenblikke en (de-)konstruksies van Duits-Afrika identiteite spruitend uit Duitsland en dié uit Afrika in hedendaagse Duitse literatuur. Deurʼn uitgebreide toepassing van postkoloniale konsepte,ondersoek die tesis die wysewaarop die post-koloniale sienings en teenstandpunte oor Duitsland en Afrika geproduseer word en hoe in die proses alternatiewe identiteite geskep en onderhandel word. Deur die ontleding van gedigte, kortverhale en romans deur swart Duitse skrywers (May Ayim, Ika Hügel-Marshall, ManuEla Ritz en Olumide Popoola) sowel as Duitse werke deur literêre stemme uit Afrika (El Loko, Daniel Mepin, Philomène Atyame en Luc Degla), bekyk en evalueer die tesis strategieë van literêre verbastering, antwoorde op en dekonstruksies van die koloniale denkbeeldige, transkulturele plasing en wêreld literêre perspektiewe.
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Sonyem, Alain Belmond [Verfasser]. "Kinder- und Jugendliteratur als Gegendiskurs? : Afrikavorstellungen in neueren deutschen und deutsch-afrikanischen Kinder- und Jugendbüchern (1990-2015) / Alain Belmond Sonyem." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1185347623/34.
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Sonyem, Alain B. [Verfasser]. "Kinder- und Jugendliteratur als Gegendiskurs? : Afrikavorstellungen in neueren deutschen und deutsch-afrikanischen Kinder- und Jugendbüchern (1990-2015) / Alain Belmond Sonyem." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://nbn-resolving.de/urn:nbn:de:101:1-2019050509160461118575.
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Neumann, Stephanie. "Gebrochenes Schweigen." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2003. http://dx.doi.org/10.18452/14973.
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In der zimbawischen Literatur sind die Themen Nation, Körper, Gewalt, Sprache und Erinnerung aufs engste miteinander verbunden. Durch den Einfluß von Yvonne Vera hat sich in den 90er Jahren das Bild des weiblichen Körpers und insbesondere die Diskussion um koloniale und postkoloniale Gewalt deutlich verändert. Im ersten Teil der Arbeit geht es um die Frage nach Nation. Unterschiedliche Darstellungen von Nehanda und den Kämpferinnen des 2. Chimurenga werden näher beleuchtet. Außerdem geht es um Veras "pastoral novel" in der sie von einer weißen Farmersfrau erzählt. Im zweiten Teil geht es um die Körperkonzepte in der zimbabwischen Literatur. Gewalt in der Familie und vor allem der weibliche Körper als Schlachtfeld steht hier im Mittelpunkt. Die Vergewaltigte und die Prostituierte sind auch weiterhin Symbole für den kolonisierten afrikanischen Kontinent. Vera versucht diese Frauen aus einer anderen Perspektive zu betrachten. Bei ihr geht es um die Erfahrung der Frauen selbst. Der dritte Teil der Arbeit befasst sich schließlich mit der Frage nach der Darstellbarkeit von Gewalt. Wie ist es möglich von Gewalt zu erzählen, ohne die Gewalt zu reproduzieren? Vera beantwortet diese Frage mit der Reflexion über des Erzählen. Bei ihr wirkt Sprache heilend.In Zimbabwean literature, the themes of nation, body, violence, language, and memory are closely connected. The dissertation analyses, how the treatment of these themes changed significantly during the 1990s. The focus lies on Yvonne Vera's work and its influence on the image of the female body and the debate about colonial as well as postcolonial violence. The first part deals with the question of nation at the example of various narratives about Nehanda and other female freedom fighters in the Second Chimurenga. Further material is drawn from Vera's "pastural novel", in which she tells about a white settler woman. The second part looks at body concepts in Zimbabwean literature. Special attention is paid to domestic violence and the image of the female body as battlefield. The raped woman and the prostitute are still widely used as symbols for the colonized African continent. Vera tries to break with this tradition by looking at such female characters from the perspective of their own experiences. The third part, finally, raises the issue of the representation of violence. How is possible to write about violence without reproducing it? Vera answers this question by reflecting about narration. Language thus works as a healing power in her texts.
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Demanou, René [Verfasser]. "Das kulturelle Gedächtnis der Kolonialvergangenheit im globalen Kontext. : Betrachtungen zur deutschen und afrikanischen frankophonen Gegenwartsliteratur. Postkoloniale Studien in der Germanistik. Band 11 / René Demanou." Bielefeld : Aisthesis Verlag, 2020. http://d-nb.info/1211643840/34.
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Pape, Marion. "Frauen schreiben Krieg." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2007. http://dx.doi.org/10.18452/15584.
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Kein anderes Thema hat die nigerianische Literatur so dominiert wie der nigerianische Bürgerkrieg, in dessen Verarbeitung sich verstärkt auch Autorinnen einmischen. Die Dissertation evaluiert 34 Texte von 16 nigerianischen Autorinnen - 12 Romane und 22 Kurzgeschichten - und analysiert sie als Gesamtkorpus, in dem die Texte miteinander und mit der Männerliteratur einen Dialog um den Bürgerkrieg führen. Die Autorinnen wenden bei ihrem "war talk" literarische Strategien wie "re-reading" und "re-writing" an, das Neu-Lesen, Fort- und Umschreiben der Texte und Diskurse des "Zentrums", durch die nicht nur die Blindstellen eines von Männern dominierten literarischen Diskurses sichtbar werden, sondern durch die auch der Prozess des Aushandelns der Geschlechterverhältnisse sowie des Krieges selbst erfolgt, seiner Ursachen, Auslöser und Folgen. Die Autorinnen stellen den Krieg als "sexuelle Unordnung" dar, als Geschlechterkrieg. Die Untersuchung zeigt, dass bei der Verortung der Perspektive der Autorinnen neben Geschlecht, ethnischer Zugehörigkeit auch andere Faktoren, wie Alter, Race, Grad der Distanz oder Nähe etc. berücksichtigt werden müssen, um vorschnelle Festschreibungen zu vermeiden. Hierbei spielen die Paratexte eine wichtige Rolle, in denen die Autorinnen sich persönlich zum Krieg äußern. Die Arbeit bewegt sich an den Schnittstellen mehrerer Disziplinen: Literatur, Historiographie und Geschlechterstudien. In der Einleitung werden die theoretischen Prämissen im Kontext von Krieg, Geschlecht und literarischer Repäsentation behandelt. Das 1. Kapitel ist dem historischen Kontext des Bürgerkrieges, einschließlich der Rolle der Frauen darin gewidmet. Im 2. Kapitel geht es um die Darstellung des Krieges, des Selbst- und Feindbildes sowie der Zukunft. Das dritte Kapitel handelt von der Beziehung zwischen Bürger- und Geschlechterkrieg, vermittelt durch das Medium literarischer Text. Die Zusammenfassung der Ergebnisse und der Ausblick auf zukünftige Forschung erfolgt im Schlussteil. Der Anhang enthält ein vorläufiges Verzeichnis der gesamten Frauenliteratur über den nigerianischen Bürgerkrieg.No other topic has dominated the Nigerian literature as much as the Nigerian Civil War and female authors increasingly interfere in its literary representation. The thesis evaluates 34 literary texts by 16 female Nigerian authors - 12 novels and 22 short stories - and analyses them as distinctive corpus whose individual texts are in a state of dialogue both with each other and with texts from male authors. The female authors use, in their "war talk", literary strategies like "re-reading" and "re-writing" of texts from the "Centre". On the one hand, these strategies enable them to make the blind spots of a male dominated literary discourse apparent/visible on the other hand, they facilitate the negotiation of gender relations and of the war itself, its causes, trigger points and consequences. The female authors represent war as "sexual disorder", as gender war. The study shows that in order to be able to locate an author''s perspective (and to avoid rash conclusions) it is essential to consider the different factors determining it - besides ethnicity and gender, also age, race, the grade of emotional involvement or distance etc. It is in this regard, where the paratexts play an important part, as in these authors express their personal views and comments on the war. The thesis is located at the interfaces of several disciplines: literary, historical and gender studies. The introduction deals with the theoretical backgrounds in the context of war, literary representation and gender. The first chapter is dedicated to the historical context of the Nigerian Civil War including the role of women. The second chapter looks at the paratexts, different representations of the war''s causes, the self-image, the enemy''s image and the future. The third chapter finally deals with the question how the relationship between Civil War and gender war is negotiated/conveyed through the medium of the literary texts. In the conclusion the results are summarized and prospects for future research are discussed. The appendix contains a preliminary bibliography of all literary texts on the Nigerian Civil War written by female authors.
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Tillquist, Ylva. "O léxico de origem africana na música popular brasileira: uma análise das letras de Gilberto Gil." Thesis, Stockholms universitet, Avdelningen för portugisiska, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-69303.
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Sociolingvistiska studier visar att kontakten mellan den brasilianska portugisiskan och afrikanska språk under kolonialtiden ledde till att afrikanska ord assimilerades in i det brasilianska talspråket. Vissa ord är idag en del av det brasilianska vardagsspråket, medan andra används enbart inom den afro-brasilianska religiösa kontexten. Den brasilianska populärmusiken kan ses som en viktig faktor för spridningen av ord med afrikanskt ursprung. Musiken är ett instrument med vilket det brasilianska samhället kan medvetandegöra sig om hur essentiellt Afrika var i det brasilianska samhällsskapandet. Samtidigt ges kännedom om de afrikanska orden och olika afro-brasilianska kulturella element. I de musikaliska verken av Gilberto Gil, en brasiliansk kompositör, musiker och artist, används ofta ord med afrikanskt ursprung. I den här studien analyseras dessa ord, och med hjälp av ett förslag till klassificering från den brasilianska etno-lingvisten Yeda Pessoa de Castro, görs ett försök att klassificera de afrikanska orden utifrån dess användning, beroende av dess sociokulturella nivå. Analysen visar att det förkommer ord med afrikanskt ursprung i stor del av kompositörens verk, majoriteten av dessa kommer ifrån de afrikanska språkgrupperna bantu och kwa. Orden kommer ifrån olika semantiska fält som till exempel mat, musik och kultur, och en majoritet är benämningar som kommer ifrån den Afro-brasilianska religiösa kontexten. Just det Afro-brasilianska religiösa temat är vanligt förekommande inom brasiliansk populärmusik, men i Gilberto Gils sångtexter ses också teman från den Afro-brasilianska sfären i användandet av välkända afrikanska ord, men det förkommer också ord som är för okända för den större publiken. Ett medvetet användande av de afrikanska orden ses som förstärkande i skapandet av en samhörighet med den Afro-brasilianska världen.The sociolinguistic studies show that during the inter-linguistic contact between the Brazilian Portuguese and the African languages during the colonial period, many words were assimilated in the vernacular Portuguese of Brazil. Some of the words are today a part of the vernacular language, while others are used exclusively in Afro-Brazilian religious communities. For the diffusion of the words with African origins, the popular music could be an important factor. With this musical theme, the Brazilian society is reminded of the importance that Africa had in the forming of the Brazilian society, and the music brings awareness of the African words and the Afro-Brazilian cultural elements. There is a frequent use of these African words in the musical accomplishments of the Brazilian composer, musician and artist Gilberto Gil. In the present work these words are analyzed, and with the proposal for classification made by the Brazilian ethno-linguist Yeda Pessoa de Castro, the aim is to classify the words, depending on their sociolinguistic level. The analysis shows that the African words can be found in a great part of the composers work, and the majority comes from the banto and kwa languages. The words are being classified in various semantic fields, for an example food, music and culture, and the majorities are designations that come from Afro-Brazilian religion. The Afro-Brazilian religious theme is a common element in the Brazilian popular music, but in the song lyrics of Gilberto Gil the African theme is also showing in the use of well-known African word. Whereas others words with African origin are not that well known, but in the conscious use of Gilberto Gil words of African origin reinforce a connection to the Afro-Brazilian universe.
Pesquisas sociolinguísticas mostram que no contato linguístico entre o português brasileiro e as línguas africanas durante o tempo da colonização, muitas palavras africanas foram assimiladas à língua falada no Brasil. Certas palavras fazem hoje parte da língua cotidiana, enquanto outras são utilizadas exclusivamente nas comunidades de religião afro-brasileira. Para a difusão das palavras de matriz africana, as músicas populares podem ser um fator importante. Com a ajuda da música, a sociedade brasileira lembra-se da importância que teve a África na formação da sociedade brasileira, e leva para o conhecimento palavras africanas e elementos culturais afro-brasileiros. Na obra musical do compositor, músico e artista Gilberto Gil pode-se observar um uso frequente de palavras de matriz africana. Neste trabalho analisa-se este vocabulário, e com uma proposta de classificação feita pela etnolinguista Yeda Pessoa de Castro, procura-se classificar as palavras conforme o nível sociocultural no qual se encontram. A análise mostra que em grande parte da obra do compositor acham-se palavras africanas, a maioria de origem banto e kwa. As palavras vêm de campos semânticos diferentes como culinária, música, cultura e a maioria são designações derivadas de religiões afro-brasileiras. Justamente o tema da religião afro-brasileiro aparece como elemento comum na música popular brasileira, mas nas letras de Gilberto Gil é possível ver temas do universo afro-brasileiro também através do uso de palavras africanas. A análise mostra que algumas são bem conhecidas, outras nem tanto. O uso tão elaborado do léxico de origem africana por Gilberto Gil em suas letras de canções manifesta uma identificação com o universo afro no Brasil.
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Ahouli, Akila [Verfasser]. "Stilisierung und Funktionalisierung einer oralen Kultur und eines mündlichen Erzählens in afrikanischen und deutschsprachigen Erzähltexten / von Akila Ahouli." 2006. http://d-nb.info/983762554/34.
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