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Relevant bibliographies by topics / Arrow of God (Achebe, Chinua)

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Academic literature on the topic 'Arrow of God (Achebe, Chinua)'

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Published: 22 February 2023

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Journal articles on the topic "Arrow of God (Achebe, Chinua)"

1

Zahid, Sazzad Hossain. "Cultural Diversity in Igbo Life: A Postcolonial Response to Chinua Achebe’s Arrow of God." International Journal of Social Sciences 5, no. 23 (June 20, 2021): 69–89. http://dx.doi.org/10.52096/usbd.5.23.5.5.

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In his book Chinua Achebe, David Caroll (1980) describes the novel Arrow of God as a fight for dominance both on the theological and political level, as well as in the framework of Igbo philosophy. In Critical Perspectives on Chinua Achebe (1990), famous Achebe critics C. L. Innes and Berth Lindforts consider Arrow of God as a novel with conflicting ideas and voices inside each community with the tensions and rivalries that make it alive and vital. Another profound scholar on Achebe Chinwe Christiana Okechukwu (2001) in Achebe the Orator: The Art of Persuasion in Chinua Achebe's Novels assesses Arrow of God, which depicts a community under imminent danger of cultural genocide unleashed by agents of Western imperialism who have recently arrived in the indigenous society. However, the author in this study attempts to see Arrow of God as a postcolonial response to cultural diversity that upholds its uniting and cohesive force in Nigerian Igbo life. The goal is to look at how Achebe, in response to misleading western discourses, develops a simplistic image and appreciation that persists in Igbo life and culture even as colonization takes hold. This paper also exhibits how the Igbo people share their hardships, uphold their age-old ideals, celebrate festivals, and even battle on disagreements. This study employs postcolonial theory to reconsider aspects of cultural diversity among the African Igbo people, which are threatened by the intervention of European colonialism in the name of religion, progress, and civilization.

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Ahmed, Tanzir. "Confusion, Misjudgment and Dissonance: The Fall of a Priest, a People and a God in Chinua Achebe’s Arrow of God." International Journal of Linguistics, Literature and Translation 5, no. 2 (February 27, 2022): 130–38. http://dx.doi.org/10.32996/ijllt.2022.5.2.16.

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Chinua Achebe’s Arrow of God portrays the gradual downfall and the ultimate doom of the protagonist, Ezeulu, of the entire Igbo community and even their deity, Ulu. Ezeulu’s tragedy happens in numerous stages influenced by various factors stemming from personal, communal and religious conflicts and his misinterpretation or misunderstanding of himself, his people, his deity and institutions and circumstances. Set in the 1920s Nigeria, Arrow of God portrays a period when colonial machination is well underway, and the native beliefs and institutions are crumbling under its grueling pressure. This paper seeks to show how Arrow of God shows that the main reason for the debacle of Igbo society lies in their internal conflicts, failure to stick to their tradition and the helplessness and dilemma to which colonialism has subjected them. Achebe asserts that for the sake of maintaining age-old traditions, some flexibility in judgment must be there, and any kind of absolutism should be avoided for the greater interest of the people.

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Mordaunt, Owen G. "Conflict and its Manifestations in Achebe’s “Arrow of God”." Afrika Focus 5, no. 3-4 (January 15, 1989): 153–65. http://dx.doi.org/10.1163/2031356x-0050304004.

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Mordaunt describes how the Nigerian author Chinua Achebe deals with the problem of personal conflict in his novel “Arrow of God”. The main character in this novel is Ezeulu, who is chief priest of the god Ulu, of the village of Umuaro. Ezeulu comes into conflict with himself in a quest to hold on to power despite his high age and the break-through of the British colonial administrators. Ezeulu wants to control both his people and the British administrators. Ezeulu believes the clan will silently follow him and the British will respect him. Hereto he sends his son to the white man’s missionary school where the boy adopts the new religion and sacrileges his own. Ezeulu will not punish him despite the wishes of the clan. Achebe’s novel shows that men cannot fight societies’ will and that the latter can bring a man to insanity.

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Bakheet Khaleel Ismail, Khaleel. "The Use of Proverbs and Idiomatic Expressions in Chinua Achebe’s ‘No Longer at Ease’ and ‘Arrow of God’." Sumerianz Journal of Education, Linguistics and Literature, no. 41 (January 27, 2021): 10–14. http://dx.doi.org/10.47752/sjell.41.10.14.

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The main aim of this paper is to critically analyze and examine the use of proverbs and idiomatic expressions in the two novels of Chinua Achebe; ‘No Longer at Ease’ and ‘Arrow of God’. It basically probes deconstructively, the sociocultural norms, traditions, and communal practices in Achebe’s narratives as exemplified via proverbs and idiomatic expressions in the selected texts. It is an analytical descriptive and thematic study whereby, proverbs are carefully sorted out, explained and analyzed according the contexts of their occurrences. After a thorough analysis of the primary texts, the paper concludes that, Achebe has skillfully uses the proverbs as vessels of folklore and oral traditions and to buttress is ideas in addition to present his people’s collective thoughts, beliefs, cultural values and lifestyle. Thus, understanding his novels readers are recommended to contextualize his texts and put them within the confines of his schematic cultural milieu; because Achebe has juxtaposed the meanings of these proverbs manipulatively to project some aspects of African cultural and folkloric elements against the Western stereotypes.

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Quayson, Ato. "Comparative Postcolonialisms: Storytelling and Community in Sholem Aleichem and Chinua Achebe." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 1 (December 11, 2015): 55–77. http://dx.doi.org/10.1017/pli.2015.31.

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This paper compares Sholem Aleichem’s Tevye the Dairyman and Chinua Achebe’s Arrow of God. Despite all their obvious differences in terms of cultural traditions and historical moments, the two authors’ fundamental commitment to modes of storytelling allows us to draw parallels and counterpoints between them. In both works storytelling is shaped by the essential polysemy of orality (such as the collocation of proverbs, gnomic statements, and anecdotes as crucial aspects of the stories being told), as well as an orientation toward ritual (in terms of the formal repetition of storytelling motifs and devices). In the Tevye stories, the first-person narration is addressed to various explicit and implied addressees and gives the impression of an immediate orality, whereas in Arrow of God the third-person narrator is coextensive with the one we encounter in Things Fall Apart in its quasi-ethnographic orientation. In both texts, storytelling and orality are mediums for identifying with an imagined community. Imagined implies a nonideal relationship to existing communities, something that is made clear in the agonistic infrastructure of the two central characters’ minds. The paper argues for seeing this agonistic infrastructure as a form of “contexture,” that is to say, a way to provide texture to the historical contexts in which they were written and to which their referential relays point us to.

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Salami, Ali, and Bamshad Hekmatshoar Tabari. "IGBO NAMING COSMOLOGY AND NAMESYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY." Folia linguistica et litteraria XI, no. 33 (2020): 39–61. http://dx.doi.org/10.31902/fll.33.2020.2.

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Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.

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Salami, Ali, and Bamshad Hekmatshoar Tabari. "IGBO NAMING COSMOLOGY AND NAMESYMBOLIZATION IN CHINUA ACHEBE’S TETRALOGY." Folia linguistica et litteraria XI, no. 33 (2020): 39–61. http://dx.doi.org/10.31902/fll.33.2020.2.

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Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization.

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Onunkwo, Chibuzo, and Nwaka Caroline Olubunmi. "Freud’s Return of the Repressed and Conflict in Achebe’s Arrow of God." International Journal of Applied Linguistics and English Literature 8, no. 4 (July 31, 2019): 26. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.4p.26.

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Chinua Achebe is widely acclaimed as the father of modern African Literature. His works of literature are read beyond the shores of Africa. Although Things Fall Apart, created renewed interest in the study of African Literature, Arrow of God, is affirmed by critics as the most complex of Achebe’s writing in terms of plot development, characterization and setting. Scholars have studied the text in terms of the demise of traditional African society by the imposing force of colonialism. For some of the critics, Ezeulu is seen as a representative figure that is destroyed while defending the cause of his community. This paper takes a different perspective on the various studies of the work. It attempts to discuss conflict in Arrow of God using Sigmund Freud’s idea of return of the repressed. Conflict is a situation in which people, groups, or countries are involved in a serious disagreement or argument. In this study we shall discuss the various shades of conflict under the following category: Ezeulu in conflict with himself, with his deity and the community using Freud’s concept of return of the repressed as a theoretical tool that controls this discussion.

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DIAKHATÉ, Babacar. "Traditional Education: Methods and Finality in Chinua Achebe’s Things Fall Apart (1958) and Arrow of God (1969)." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, no. 1 (January 14, 2021): 1–6. http://dx.doi.org/10.33258/birle.v4i1.1545.

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Before colonization, Africans had their own ways and methods of education. Its finality was to educate their children in accordance with African values. In Things Fall Apart and Arrow of God, Chinua Achebe shows that African traditional education plays a key role in the passage from childhood to adulthood. Instead of using western materials and tools such as classrooms, blackboards, talks and or pens, in African traditional education the fireplaces, the farms, storytelling, tales and proverbs were the methods and means that African wise people adopted to educate their children.

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Akakuru, Iheanacho A., and Nwanne Mkpa. "Traduction et stylistique : Une analyse de la traduction d'Arrow of God de Chinua Achebe." Meta 42, no. 4 (September 30, 2002): 641–48. http://dx.doi.org/10.7202/001865ar.

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Résumé Les auteurs analysent la traduction a Arrow of God afin de déterminer dans quelle mesure le processus de traduction a influencé le style, voire l'orientation de l'œuvre originale. Us relèvent des cas de modifications de la langue source qui concernent le plus souvent des mots I expressions qui sont contexte-dépendants et concluent que même si, dans l'ensemble, la traduction respecte l'esthétique de l'original, on remarque néanmoins un décentrement. Or, les éléments que l'on violente sont ceux qui participent du style de l'auteur, de ses stratégies particulières, etc. Et c'est en les modifiant, en cherchant à leur imposer une nouvelle individualité, que le traducteur porte atteinte à l'intégrité de l'original.

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Dissertations / Theses on the topic "Arrow of God (Achebe, Chinua)"

1

Rosén, Josefine. "Invisible Weapons : Hegemony and Binary Relationships in Chinua Achebe’s Arrow of God." Thesis, Mittuniversitetet, Institutionen för humaniora, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-11215.

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Babagbeto, Romain. ""alienation et recherche d'identite dans les romans de chinua achebe : things fall apart, no longer at ease, arrow of god, a man of the people." Nantes, 1988. http://www.theses.fr/1988NANT3001.

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La consequence principale de la colonisation europeenne de l'afrique, est la desintegration de la societe traditionnelle africaine. Au cours de cette periode, l'africain est devenu un aliene, aussi bien sur le plan culturel, economique que politique; il a aussi perdu son identite. Aujourd'hui il lutte pour retrouver et conserver les valeurs qui constituent les bases de son identite veritable. Malheureusement la victoire se trouve compromise, non plus tellement par les mefaits du colonialisme, mais aussi et de plus en plus par l'irresponsabilite de certains africains qui ne pensent qu'a leurs interets personnels. Cette these porte sur l'etude de l'alienation et de la quete d'identite de l'africain dans un monde domine par des valeurs nouvelles. Nous nous sommes concentres sur les quatre romans suivants de l'ecrivain nigerian chinua achebe: things fall apart, no longer at ease, arrow of god et a man of the people
The contact between europe and africa resulted on the one hand in the disintegration of the african society as a whole, and on the other hand in alienation and loss of identity for individuals. Africans are fighting today to regain the dignity they lost during the colonial period. Unfortunately, the 'irresponsibility' of some african nowadays is negatively affecting the struggle. This quest of identity is the cornerstone of achebe's works

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Babagbeto, Romain. "Aliénation et recherche d'identité dans les romans de Chinua Achebe "Things fall apart", "No longer at ease", "Arrow of God", "A Man of the people /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611472s.

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4

Okoko, Anthony Chinedu. "Narrative mobility : Comparative studies of Chinua Achebe’s five cultural and political novels of Things fall apart, Arrow of God, No longer at ease, A man of the people, and Anthills of the Savannah." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2454.

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Schultz, Andrew B. "Holmes, Alice, and Ezeulu : Western rationality in the context of British colonialism and Western modernity /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2034.pdf.

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Diop, Cheikh. "L'inscription de la religion dans "La Symphonie pastorale" (Gide), "Journal d'un curé de campagne" (Bernanos), "L'Aventure ambigue" (Kane) et "La Flèche de Dieu" (Achebe)." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30025/document.

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A la lecture des récits de Bernanos, Gide, Kane, Achebe inscrits dans notre corpus, il ressort que l’imagerie religieuse offre un tableau composite. En effet, s’appuyant sur un ensemble de représentations, la religion varie selon les époques et les sociétés. Bien que considérant le divin comme entité influente, elle intègre des croyances et théogonies locales. Par ailleurs, la divinité ne conditionne pas toujours l’appartenance religieuse car « pas plus qu’il n’y a de religion sans société, il n’y a pas de société sans religion: une société athée serait sans doute une société sans dieu(x), mais il ne s’ensuit pas qu’elle serait sans religion ni croyance ». Il est notable que dans ces textes, l’évocation de la religion, par-delà les marques de ferveur qu’elle est susceptible de traduire, pose un problème existentiel. Plus qu’un rapport entre le divin et l’humain, c’est l’avènement d’une conscience évolutive chez l’homme dans un univers où les liens qui ont toujours forgé l’unité collective tendent à se délier. Autrement dit, la religion se veut le reflet d’un faisceau de valeurs sur la base desquelles s’inspirent les conduites humaines. Et c’est œuvrant à l’encontre d’une telle prescription que le malaise s’est instauré chez la plupart des personnages des romans. Au demeurant, de l’approche de la religion résulte le constat à la fois séduisant et décevant qu’offre l’image d’un univers pris dans le tumulte des exigences sociétales. Au regard des fictions, il s’avère que la nature du sacré émeut et se meut à travers les peuples mais, aussi, s’estompe plus qu’elle ne s’affirme, se dévoie plus qu’elle ne s’enracine. Bien qu’adossé au point de repère de la foi, l’homme est de plus en plus gagné par le vertige. Et ce malaise s’universalise car « une religion est un phénomène qui se vit collectivement ». Autrement dit, les textes dévoilent la dérive de l’être aux prises avec le mal. Mais plus qu’une lutte contre autrui, c’est plutôt l’expression d’un combat acharné contre soi afin de renaître à la première splendeur. Il est clair que l’univers des récits est peuplé d’individus dont la voix porte l’écho du divin. Une perpétuelle cohabitation entre le bien et le vice, ainsi s’établit la condition humaine telle qu’elle est présentée dans les romans. Car, que peut bien révéler le journal d’un curé, arborant la flèche de Dieu et faisant face aux démons, si ce n’est la symphonie d’une aventure ambiguë voire périlleuse
In reading the stories of Bernanos, Gide, Achebe incorporated in our corpus, it emerges that religious imagery offers a composite picture. Based upon a set of representations, religion indeed varies according to the times and society. Though viewing the divine as an influential entity, religion implies beliefs and local theogonies. In fact, divinity doesn’t influence religious belonging for no much more than there is not religion without society, there isn’t society without religion: an atheist society undoubtedly would be a godless society but it wouldn’t mean a society devoid of religion or belief. It is worth noting that in these texts the mere mention of religion poses an existential problem beyond any fervor it is likely to stand for. More than a relationship between the divine and the human, it’s about the advent of man’s evolving conscience in a universe where bonds which have always created the collective unity tend to untie. In other words, religion is meant to be a set of values by which human behaviors are inspired. It is in fighting against such a prescription that some discomfort came to be among most characters in some novels. As a result, the observation both stunning and unsatisfactory provided by the image of a universe caught up in the turmoil of societal demands stems from the approach of religion. In view of fictions, it turns out that the nature of the sacred stirs and moves throughout all peoples but also fades away more than it shows off, leads astray more than it takes root. Though leaned to the landmark of faith, the human being is more and more subjugated by vertigo. This uneasiness becomes universal because religion is a collectively-lived phenomenon. In other words, the texts unveil human being’s drift in his struggling against evil. But more than a fight against the others, it’s rather a bitter struggle against oneself in order to be reborn to the first splendor. It is obvious that the universe of stories is peopled by individuals whose voices bear the echo of the divine. A perpetual cohabitation between good and evil, this is how the human condition is established and so depicted in the novels. For what may reveal the diary of a priest bearing the arrow of god and striving against demons except that it is the symphony of an ambiguous adventure, if not a perilous one

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Ihejirika, Anne A. J. "Writing as translation : the case of Chinua Achebe's Arrow of God /." 2004. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11817.

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Thesis (M.A.)--York University, 2004. Graduate Programme in Translation.
Typescript. Includes bibliographical references (leaves 157-165). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11817

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Books on the topic "Arrow of God (Achebe, Chinua)"

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Yolande, Cantù, ed. Chinua Achebe: Arrow of God: A critical view. London: Collins in association with the British Council, 1986.

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2

Nwabueze, Emeka. When the arrow rebounds: (a dramatized recreation of Chinua Achebe's Arrow of God). Enugu, Nigeria: ABIC Publishers, 1991.

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Chinua, Achebe. Chinua Achebe Reading Anthills of the Savannah Arrow of God. American Audio Prose Library, 1988.

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Book chapters on the topic "Arrow of God (Achebe, Chinua)"

1

Carroll, David. "Arrow of God." In Chinua Achebe, 86–118. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230375215_4.

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Morrison, Jago, and Nicolas Tredell. "Arrow of God (1964)." In The Fiction of Chinua Achebe, 93–112. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-12204-9_5.

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Groß, Norbert. "Achebe, Chinua: Arrow of God." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1051-1.

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Ogbaa, Kalu. "Chinua Achebe's Arrow of God." In The Life and Times of Chinua Achebe, 177–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003184133-11.

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Mathuray, Mark. "Realising the Sacred: Chinua Achebe’s Arrow of God." In On the Sacred in African Literature, 21–44. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230240919_2.

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Afejuku, Tony E. "The Meaning of Solitude/Loneliness/Isolation in Chinua Achebe’s Things Fall Apart and Arrow of God." In Posthumanism and Phenomenology, 137–47. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-10414-5_12.

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Morrison, Jago. "Arrow of God." In Chinua Achebe, 93–134. Manchester University Press, 2014. http://dx.doi.org/10.7228/manchester/9780719084362.003.0003.

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Morrison, Jago. "Arrow of God." In Chinua Achebe. Manchester University Press, 2016. http://dx.doi.org/10.7765/9781526110718.00010.

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"Religion and power in Africa: Arrow of God." In Chinua Achebe, 64–82. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511554407.006.

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GIKANDI, SIMON. "Arrow of God (Chinua Achebe, 1964)." In The Novel, Volume 2, 489–96. Princeton University Press, 2022. http://dx.doi.org/10.2307/j.ctv27tctsx.31.

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