To see the other types of publications on this topic, follow the link: Arrow of God (Achebe, Chinua).
Journal articles on the topic 'Arrow of God (Achebe, Chinua)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Arrow of God (Achebe, Chinua).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Islam, Momtajul. "The Role of Native Weaknesses and Cultural Conflicts in Escalating Colonial Supremacy in the Igbo Society, as Perceived in Arrow of God by Chinua Achebe." International Linguistics Research 4, no. 2 (April 27, 2021): p19. http://dx.doi.org/10.30560/ilr.v4n2p19.
Full textAbstract:
The colonial invaders and their repressive means of governance in Africa were not the only reasons that could be solely held accountable for the fall of indigenous African society during the colonial invasion. Native weaknesses, socio-cultural conflicts and hegemony were equally responsible for the falling apart of native social setups when confronted with colonial alternatives. Native people had had their own covert religious and cultural limitations long before the colonizers entered their soil. The colonial powers cleverly used such inherent societal flaws of African people as excuses to impose European religion and traditions on them. Chinua Achebe does not blindly idealize native African traditions in his writings. He frequently narrates his doubts on flawed socio-cultural practices and moral dualities in the native society, too. This paper is an attempt to explore how innate weaknesses of native Igbo people, socio-cultural conflicts and domination in the native society have also made it easier for the colonial administration to prolong their supremacy in the Igbo land, as depicted in Arrow of God by Chinua Achebe. It also elaborates how Ezeulu, the chief priest of god Ulu, falls from dominance in his society because of his intent to execute personal desires which jeopardize his societal role in the Igbo land.
12
Njeng, Eric Sipyinyu. "Appropriating Writing in Chinua Achebe’s Arrow of God." Prague Journal of English Studies 7, no. 1 (July 1, 2018): 97–110. http://dx.doi.org/10.1515/pjes-2018-0006.
Full textAbstract:
Abstract This paper examines the appropriation of writing as an integral part of the colonial encounter in Achebe’s Arrow of God (1964). Achebe’s hero (Ezeulu) realizes the pitfalls of orality in the confrontation with Europeans who are equipped with writing and its accompaniments. The coming of the West is therefore welcomed as Ezeulu quickly sides with them to empower himself against the contending forces of a disintegrating society. I argue that, as the Chief Priest of Ulu, Ezeulu is aware of the flaws in the oral nature of his religious pantheon and by sending his son Oduche to learn the art of writing he appropriates the technology of writing in order to prevail against his enemies and ineluctably allows his god’s surrender to the Christian God. This absorption into a greater pantheon is facilitated through the appropriation of writing and the sacred book.
13
Avestan, Samrand, and Owen G. Mordaunt. "“What a Man Does Not Know Is Greater than He”: Analyzing Noos, Thymos and Akrasia in Achebe’s Arrow of God." English Language and Literature Studies 12, no. 1 (November 22, 2021): 1. http://dx.doi.org/10.5539/ells.v12n1p1.
Full textAbstract:
This paper is an exposition of how Chinua Achebe’s Arrow of God (1964) is engaged with philosophical concepts of thymos, noos, eros, and akrasia. The focus of this study is principally on Ezeulu’s thymos. To achieve this end, Francis Fukuyama’s notion of thymos or “desire for recognition” has been considered to provide a more tangible description of the term. This study explores that when a person’s body formation is mostly dominated by thymos, which has run out of control, the result is akrasia. Subsequently, it will be discussed that Ezeulu’s akrasia or “weakness in will” is the result of his ambivalent quest for self-worth. This article also seeks to examine the ways in which Ezeulu, the Chief Priest of Ulu, struggles to maintain his dignity to remain Umuaro’s cynosure. Ezeulu’s old age, his poor eyesight, his conflicts with his people, his insistence on revenge, and his desire for higher values provide some of the major sources of akrasia. By applying these aforementioned philosophical concepts to this novel, it is hoped that this article will contribute to a new conceptualization in terms of psychic disposition in Achebe’s Arrow of God.
14
Tatang Iskarna. "The Portryal of Christianity in Achebe’s Arrow of God: A Postcolonial Perspective." DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA 7, no. 2 (December 7, 2020): 1–14. http://dx.doi.org/10.33541/dia.v7i2.3047.
Full textAbstract:
AbstractThe emergence of postcolonial criticism makes the voice of Africans’ colonial experience heard and seriously considered. In some ways, this voice is a little bit different from what the European poets or novelists have expressed in their literary texts. For most Europeans, colonialism is perceived as a civilizing force that benefits and progresses to the colonized African societies, primarily through one of its arms: Christianity. Although this religion, as most missionaries propose, has nothing to do with the worldly affair, such as a lust for natural resources and colony, it becomes an important cultural element to help the Europeans conquer the colonized African natives. During the era of colonialism, Christianity in Western discourse is perceived as a means of setting the African natives free from the barbaric traditional belief and savage way of life. Through Christianity, the colonized African natives are educated and taught to live a more modern and civilized life. However, some African writers at times give a different perspective on Christianity. This article explores how Christianity is portrayed through the characters and conflicts in Arrow of God (1964), a novel written by a Nigerian named Chinua Achebe. This portrayal can lead to a postcolonial discourse the novel intends to propose.
Keywords: Christianity, colonialism, postcolonial criticism, postcolonial discourse
Abstrak
Munculnya kritik sastra poskolonial menjadikan suara yang mengekspresikan pengalaman kolonialisme dapat didengar dan sungguh-sungguh dapat diberi perhatian. Suara ini dalam beberapa hal agak eberbeda dengan apa yang disampaikan oleh novelis dan penyair Eropa dalam karya-karya mereka. Bagi kebanyakan orang Eropa, kolonialisme dipandang sebagai kekuatan pemberadaban yang dapat memberikan keuntungan dan kemajuan bagi masyarakat Afrika yang terjajah, terutama melalui salah satu tangan kanannya, yaitu agama Kristen. Meskipun agama ini tidak terkait dengan urusan nafsu dunia, seperti keinginan untuk menguasai sumber daya alam maupun tanah koloni seperti yang sering dikatakan oleh para misionaris, agama ini menjadi elemen penting untuk membantu kaum kolonial Eropa manaklukkan orang-orang pribumi Afrika. Selama masa kolonial, agama Kristen dalam wacana Barat dipandang sebagai media untuk membebaskan orangorang Afria dari kepercayaan tradisional yang barbar dan cara hidup yang tidak beradab. Melalui agama ini, orang-orang pribumi Afrika dididik dan diajar untuk menghidupi kehidupan yang lebih modern dan beradab. Namun demikian, beberapa sastrawan Afrika memberikan perspektif yang berbeda terhadap agama Kristen. Artikel ini akan mengeksplorasi bagaimana agama Kristen digambarkan melalui tokoh dan konflik dalam novel Arrow of God (1964) karya sastrawan Nigeria, Chinua Achebe. Gambaran ini akan menuntun pembaca pada wacana poskolonial yang dibangun oleh novel ini.
Kata kunci: Agama Kristen, kolonialisme, kritik sastra poskolonial, wacana poskolonia
15
Okechukwu, Chinwe. "Oratory and Social Responsibility: Chinua Achebe's Arrow of God." Callaloo 25, no. 2 (2002): 567–83. http://dx.doi.org/10.1353/cal.2002.0094.
Full text
16
Ekeh, Greg. "Language Implications for Peace or War: Exploring How the use of Language led to war between Umuaro and Okperi in Chinua Achebe’s Arrow of God in the Light of Ludwig Wittgenstein’s Philosophy of Language." International Journal of Applied Linguistics and English Literature 9, no. 4 (July 31, 2020): 101. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.4p.101.
Full textAbstract:
This paper explored the conflict between Umuaro and Okperi (Fictitious Igbo towns) in Chinua Achebe’s Arrow of God (A novel written by Chinua Achebe in 1965, which is a picture of struggle and dialectics between Igbo culture/religion and imported European culture/religion) in the light of Ludwig Wittgenstein’s philosophy of language. The aim of the paper was to show how the use and understanding made of language can have implications for peace or war, between individuals or communities. The goal is to contribute to the promotion of peace through appropriate use and understanding of language. Philosophical method of analysis was applied in discussing Wittgenstein’s views on language as well as extracts from Arrow of God. The extracts hinged on the utterances among the elders of Umuaro, as well as between Umuaro’s emissaries led by Akukalia and the elders of Okperi, which eventually culminated in a war between Umuaro and Okperi. The findings of the study showed that use of words and languages can lead to peace or war, by their implications, understanding and context. The conclusion was that understanding and applying Wittgenstein’s view of language as a social practice through meaning as use, language-games, rule-following, grammar and form of life can help people, especially those in positions of authority, power and influence, to make good choice of words and languages in their speeches or utterances – words and languages that promote peace instead of war or any kind of violence. Mahatma Gandhi was an example of such leaders, and it was recommended that today’s leaders emulate him, for a peaceful coexistence, especially as the present society is apparently enveloped in political tensions and struggle for supremacy in various dimensions.
17
Al-BARZENJI, Luma Ibrahim. "ROOTLESSNESS IN ELIZABETH BOWEN'S THE DEATH OF THE HEART, AND CHINUA ACHEBE'S ARROW OF GOD: A COMPARATIVE STUDY BETWEEN ANGLO-IRISH AND AFRICAN POSTCOLONIAL LITERATURE." International Journal Of Education And Language Studies 01, no. 01 (December 1, 2021): 43–55. http://dx.doi.org/10.47832/2791-9323.1-1.4.
Full textAbstract:
Postcolonial literature views the British Empire of the nineteenth century as unique in human history and literary products for it provides writers with different subjects that deal with the idea of how to resurrect the colonized identity even after getting liberation. Postcolonial literature seems to label literature written by people living in countries formerly colonized by other colonized and other colonial powers as British. Such literature and particularly novel, emerged to focus on social, moral, and cultural influences and their interrelation with the impact of English existence upon some countries as Ireland in Europe and Nigeria in Africa. Irish novel shares its genesis with the English novel. When we write of the eighteenth century and use the phrase ' the Irish novel', we are necessarily referring to novel written by authors who, irrespective of birthplace, inhabited both England and Ireland and who thought of themselves as English or possibly both English and Irish. This fact is apparent within hands when we talk about the Anglo-Irish novelist Elizabeth Bowen and her novels that show the obvious effect of her Irish identity upon her works during the period of World Wars I and II with a consideration to Ireland as a British colony. The same impact with African culture, postcolonial Nigeria, when its writers saw the changes crept to their traditions. Their literary products concentrated on questioning their nation how to keep and reserve African identity from alternations. Chinua Achebe, the Nigerian writer tried to reflect his culture in a mirror to readers and challenge them with their own strength and weakness in his novel Arrow of God. His novel tackles these weaknesses of the traditional outlook and senses for change. The research paper tackles the concept of rootlessness in postcolonialism through Anglo-Irish novel The Death of the Heart (1938) of Elizabeth Bowen ,which is tackled in the first section , and postcolonial Nigerian novel Arrow of God (1964) written by Chinua Achebe in the second section. The paper ends with conclusions and works cited.
18
George, Olakunle. "The Narrative of Conversion in Chinua Achebe's "Arrow of God"." Comparative Literature Studies 42, no. 4 (January 1, 2005): 344–62. http://dx.doi.org/10.2307/40247508.
Full text
19
George, Olakunle. "The Narrative of Conversion in Chinua Achebe's "Arrow of God"." Comparative Literature Studies 42, no. 4 (January 1, 2005): 344–62. http://dx.doi.org/10.2307/complitstudies.42.4.0344.
Full text
20
George, Olakunle. "The Narrative of Conversion in Chinua Achebe's Arrow of God." Comparative Literature Studies 42, no. 4 (2005): 344–62. http://dx.doi.org/10.1353/cls.2006.0019.
Full text
21
Magalhães, Célia Maria, and Cliver Gonçalves Dias. "Variações semânticas de valoração em reinstanciações portuguesas e brasileiras de Things Fall Apart e Arrow of God." Cadernos de Tradução 38, no. 3 (September 12, 2018): 319–51. http://dx.doi.org/10.5007/2175-7968.2018v38n3p319.
Full textAbstract:
Este artigo expande a investigação realizada em Autor (2018), sobre variações semânticas de valoração em traduções brasileiras de dois romances de Chinua Achebe, Things Fall Apart (1994[1959]) e Arrow of God (1969[1964]), para traduções portuguesas destes textos. O objetivo é identificar variações semânticas da valoração nas retraduções. Trabalhos empíricos sobre a tradução de textos literários estudam a valoração, descontextualizada do seu significado no desdobramento dos textos, usando a metodologia de análise de corpora. Autor (2018) usa um modelo semântico-discursivo para estudar a tradução como reinstanciação, considerando o desdobramento das narrativas literárias. Neste trabalho, foram usados excertos das reinstanciações portuguesas Tudo se desmorona (2008), de Things fall apart, e A flecha de Deus (1979), de Arrow of God. O estudo utiliza o método de análise da valoração, da semântica-discursiva, para investigar padrões de configurações valorativas de atitude, comprometimento e gradação nos textos do corpus. Os resultados, comparados aos resultados de Autor (2018), sugerem que há variações semânticas entre os pares de reinstanciações relativas ao modo de realização, ao acoplamento e à calibragem, bem como à não reinstanciação de valores ou instanciação de novos valores. Estes resultados sugerem que as duas reinstanciações são paráfrases distintas dos texto-fontes, confirmando a hipótese da retradução.
22
Bula, Andrew. "Dimensions of Intertextuality in Achebe’s Things Fall Apart and Arrow of God." Journal of Critical Studies in Language and Literature 3, no. 3 (May 1, 2022): 15–23. http://dx.doi.org/10.46809/jcsll.v3i3.149.
Full textAbstract:
The readings on Chinua Achebe’s Things Fall Apart and Arrow of God are, for the most part, steeped in Igbo culture and cosmology as well as the deployment of language in the texts. None, consequently, has taken up the question of examining both texts by means of Julia Kristeva’s theory of intertextuality. This research report occupies that critical void. Concretely, it utilizes select dimensions of Kristeva’s theory of intertextuality in investigating Things Fall Apart and Arrow of God. This is in order to understand what the characters are saying and what the narrator is saying, the role played by culture in these discourses, and whether the theory’s select dimensions apply to Achebe’s Things Fall Apart and Arrow of God. Ultimately, it is uncovered that indeed intertextuality is applicable to and exists in Things Fall Apart and Arrow of God by means of the various dimensions of the theory. By Kristeva’s account, these dimensions are the intersecting of citation and narration within the novel, dyadic figuration and arbitrary termination, the relationship between the literary text and the text of culture, the figure of double destinations, the horizontal dimension of the function of the symbol, the non-conformity between a named object and its name within the Symbol as Ideologeme, and the relationship between individual texts (books).
23
Onyibor, Marcel Ikechukwu Sunday. "Igbo Cosmology in Chinua Achebe’s Arrow of God: An Evaluative Analysis." Open Journal of Philosophy 06, no. 01 (2016): 110–19. http://dx.doi.org/10.4236/ojpp.2016.61011.
Full text
24
Saikia, Nirupa. "Dynamics of Change and Displacement in Chinua Achebe’s Arrow of God." International Journal of English Literature and Social Sciences 4, no. 4 (2019): 1056–60. http://dx.doi.org/10.22161/ijels.4420.
Full text
25
Teilanyo, Diri I. "Rhetoric and Rivalry." Matatu 48, no. 2 (2016): 239–52. http://dx.doi.org/10.1163/18757421-04802001.
Full textAbstract:
Politics almost always entails opposition and rivalry as individuals and groups compete for power and influence. This essay juxtaposes the use of rhetoric among political rivals in Chinua Achebe’s Arrow of God with the use of such language among present-day Nigerian politicians. Parallels are drawn between the utterances of such characters as Ezeulu, Nwaka, and Ezidemili in Arrow of God and those of Nigerian political personalities like Olusegun Obasanjo, Goodluck Jonathan, Ibrahim Babangida, and Atiku Abubakar (the statements of the Nigerian politicians having been gathered from the mass media). Rhetorical strategies such as wit, repartee, innuendo, cynical/wry humour, and outright abuse/imprecations are identified as shared in the two worlds. It is argued that such language of rivalry is common in all political settings, ancient or modern. It is also suggested that literary works such as Arrow of God constitute a source of both political wit and wisdom for politicians to draw on.
26
Mathuray, Mark. "Realizing the Sacred: Power and Meaning in Chinua Achebe's Arrow of God." Research in African Literatures 34, no. 3 (2003): 46–65. http://dx.doi.org/10.1353/ral.2003.0071.
Full text
27
Abussamen, Amneh K., and Shadi S. Neimneh. "Chinua Achebe and Postcolonial Ambivalence: Gratitude and Revenge in Things Fall Apart, No Longer at Ease, and Arrow of God." American Journal of Creative Education 1, no. 1 (2018): 1–12. http://dx.doi.org/10.20448/815.1.1.1.12.
Full text
28
Cham, Mbye B. "Language as Index of Character, Humor and Conflict in Arrow of God and A Man of the People by Chinua Achebe." A Current Bibliography on African Affairs 17, no. 3 (March 1985): 243–65. http://dx.doi.org/10.1177/001132558501700303.
Full text
29
이성진. "The British Colonialism and the Iboland’s Disintegration in Chinua Achebe’s Arrow of God." English21 27, no. 3 (September 2014): 81–98. http://dx.doi.org/10.35771/engdoi.2014.27.3.004.
Full text
30
Gogoi, Gitanjali. "An Ecocritical Approach to Chinua Achebe’s Things Fall Apart and Arrow of God." IOSR Journal of Humanities and Social Science 19, no. 11 (2014): 01–04. http://dx.doi.org/10.9790/0837-191150104.
Full text
31
Manji, Ambreena. "‘Like a Mask Dancing’: Law and Colonialism in Chinua Achebe's Arrow of God." Journal of Law and Society 27, no. 4 (December 2000): 626–42. http://dx.doi.org/10.1111/1467-6478.00170.
Full text
32
Mortari, Cláudia, and Katarina Kristie Martins Lopes Gabilan. "“CONCORDO, CLARO, QUE UMA BOA ARTE MUDA AS COISAS”. A ESCRITA LITERÁRIA DE CHINUA ACHEBE E A CRÍTICA A COLONIALIDADE." Sankofa (São Paulo) 10, no. 20 (December 21, 2017): 56. http://dx.doi.org/10.11606/issn.1983-6023.sank.2017.143682.
Full textAbstract:
O presente artigo tem como objetivo apresentar algumas reflexões iniciais que se debruçam sobre a escrita do nigeriano Chinua Achebe (1930-2013), discutindo o papel social e político da sua produção literária bem como a possibilidade de, a partir da análise desta, apontar evidências acerca da percepção do escritor em relação a eventos históricos ocorridos na sociedade nigeriana. Tendo como documento de análise as obras O Mundo se Despedaça (Things fall apart, publicado em 1958), A Flecha e Deus (Arrow of God publicado em 1964), entrevistas e ensaios do autor, partimos do pressuposto que sua escrita literária, enquanto arcabouço narrativo e documento histórico, é informada por suas visões e sentidos da história, pois ele e suas obras são acontecimentos datados historicamente e expressam, portanto, o seu tempo e o seu lugar. Em um diálogo entre intelectuais dos campos teóricos pós-coloniais e decoloniais, nossa proposta é pensar a contribuição de sua escrita literária articulada com a ideia de “equilíbrio das histórias” – termo cunhado por ele em suas entrevistas. Para o autor, todos possuímos o direito de contar nossas próprias histórias a partir das nossas vivências, contrapondo-se à herança da colonialidade que difunde a ideia da existência de uma história única – a partir do ponto de vista eurocentrado. Tal posicionamento, de questionamento do saber epistêmico ocidental/colonial e o descobrimento e valorização das teorias e epistemologias do Sul que pensam com e a partir de corpos e lugares étnico-raciais/sexuais subalternizados, abre possibilidades para o surgimento de paradigmas outros. Dessa forma, ser possível identificar não apenas a perspectiva de um sujeito da história, como também a forma como ele constrói uma referência ao passado partindo do presente. Em uma relação com a literatura a partir das categorias próprias de Achebe, propomos pensar uma lógica de reflexão que se desloque da ótica da colonialidade.
33
Msiska. "Colonialism, Trauma, and Affect: Chinua Achebe's Arrow of God as Oduche's Return." Research in African Literatures 49, no. 4 (2018): 46. http://dx.doi.org/10.2979/reseafrilite.49.4.05.
Full text
34
Akinkurolere, Susan, and Kayode Ariyo. "Speech Act Features of Select Extracts in Chinua Achebe’s Arrow of God: Leadership Perspective." British Journal of Education, Society & Behavioural Science 9, no. 2 (January 10, 2015): 139–45. http://dx.doi.org/10.9734/bjesbs/2015/13323.
Full text
35
Chifane, Cristina, and Liviu-Augustin Chifane. "Reflections on Cultural Specificity and Dystopian Standardization in Chinua Achebe’s Novels." Linguaculture 10, no. 1 (June 10, 2019): 69–80. http://dx.doi.org/10.47743/lincu-2019-1-0136.
Full textAbstract:
Although tackling Chinua Achebe’s novels as illustrative pieces of postcolonial African literature, this article moves a step further in tracking down the elements projecting these literary texts into universalization. The major aim is to highlight the stylistic differences between the novels making up the African trilogy (Things Fall Apart - 1958, No Longer at Ease - 1960, Arrow of God - 1964) and his subsequent masterpieces A Man of the People (1966) and Anthills of the Savannah (1987). If the African trilogy particularly relies on and therefore has been analyzed in terms of culture-specific items and postcolonial issues, the other two novels acquire new dimensions, giving birth to what can be called dystopian standardization characteristic not only of a certain space or time, but of any society fighting corruption and abusive political systems inevitably leading to oppressive regimes, chaos and collapse.
36
Yvonne Okafor, Amaka. "THE LEXICAL CHANGE IN THE PERSONAL NAME IN ACHEBE’S NOVELS." International journal of multidisciplinary advanced scientific research and innovation 2, no. 3 (March 9, 2022): 436–46. http://dx.doi.org/10.53633/ijmasri.2022.2.3.002.
Full textAbstract:
Language change is a process by which change occurs in the distribution of linguistic variants across sounds, words or constructions of a language. The change can be as a result of the following factors: contact, region, level of education, gender, age and so on. In the light of this, the research investigates the lexical change in the personal names that occur in the following novels of Chinua Achebe: Things fall apart, No longer at ease and Arrow of God. From the findings, this study portrays that contact is the major factor that brings about the lexical change in the personal names used in these novels. Furthermore, this contact is classified under religious contact, culture contact and education contact. Finally, Holmes (2013) opines that for there to be a language change, there must be language variation. In the case of language change in the personal names that occur in the aforementioned novels, there are no variations before the lexical change in the personal names. Eckert & McConnel- Ginet‟s (1992) proposition that no single variable can be held responsible for language change is visible also because inasmuch as the reason for the language change is stemmed to contact with the white men but it further spilled to other factors like education, religion and culture. Key words: Novel, language, Lexical Change
37
Morton. "Allegories and Counter-Allegories of the World-System in Chinua Achebe's Arrow of God." Research in African Literatures 49, no. 4 (2018): 27. http://dx.doi.org/10.2979/reseafrilite.49.4.04.
Full text
38
Mengara, Daniel M. "Colonial Intrusion and Stages of Colonialism in Chinua Achebe’sThings Fall Apart." African Studies Review 62, no. 4 (May 28, 2019): 31–56. http://dx.doi.org/10.1017/asr.2018.85.
Full textAbstract:
Abstract:Chinua Achebe’s first novel,Things Fall Apart, has continued to offer—perhaps much more than his third novel,Arrow of God—the most vivid account of the process of early colonial penetration in Africa. This study examinesThings Fall Apartthrough an analytical and conceptual framework that illuminates the five stages of colonialism in Africa. These five stages (exploration, expropriation, appropriation, exploitation, and justification) were necessary in order for colonialism to become both aneffectivetoolfordomination and asuccessfultoolofdomination; as such, they provide powerful glimpses into Achebe’s fictional representation of the cataclysm embodied by colonial intrusion, not only within the confines of the fictional Igbo universe that he depicts, but also throughout a sub-Saharan African world whose cultural and sociopolitical ethos were shaken to their core. An analysis of these stages, therefore, leads to an understanding of colonialism that defines it not as a series of specific historical events, spaces, and places, but rather as aprocessor aseries of psycho-historical processeswith a certain number of inescapable features that conspired to make it an effective tool of and forsustainedpolitical, cultural, and economic domination in sub-Saharan Africa. Achebe’s novel can be used as a tool that can help to decipher and foreground thepsycho-historical processesinherent in what, ultimately, may be called “the psychology of colonialism.”
39
Montle, Malesela Edward. "RETHINKING THE PEDIGREES OF AFRICAN CULTURAL WATERSHED: A POST-COLONIAL INQUEST NTO CHINUA ACHEBE’S ARROW OF GOD." ELTALL: English Language Teaching, Applied Linguistic and Literature 3, no. 2 (September 17, 2022): 1–11. http://dx.doi.org/10.21154/eltall.v3i2.4832.
Full textAbstract:
The African cultural identities have undergone earth-shattering shifts from the precolonial epoch to the colonial and post-colonial periods. It is the colonial empire that advented in the African continent in the 15th century and attempted to erode and stigmatise African cultural practices as part of its mission to take control of Africa. Despite Africa being under a democratic administration today, African cultural identities are still marginalised, chiefly, by colonial remnants that have not yet been successfully uprooted. Thus, this paper aims to re-anatomise the African cultural identity-crises in the present day from the onset of colonialism on the continent. It utilises a qualitative approach and crystallises this African cultural watershed from a literary perspective. Chinua Achebe’s Arrow of God is purposively sampled for the paper as a primary reference point by dint of its conformity to the main theme of the study. The paper, comprehensively, blames the enduring colonial fragments in the present day for the African cultural identity-crises as they hinder decolonisation and peril African cultures. The colonial legacies in Africa today, like in the colonial times, are found to be championing Western identities at the expense of African cultural identities, hence, the latter is still menaced.
40
Dias, Cliver Gonçalves. "Variações de gradação na reinstanciação da atitude em textos ficcionais traduzidos." A Cor das Letras 19, no. 2 (January 1, 2019): 151. http://dx.doi.org/10.13102/cl.v19i2.3501.
Full textAbstract:
O objetivo deste estudo foi investigar variações na gradação dos valores atitudinais (MARTIN; WHITE, 2005) em duas narrativas traduzidas. Adotou-se a perspectiva semântico-discursiva da estrutura genérica dos textos (MARTIN, 1992; MARTIN; ROSE, 2003, 2008) juntamente com a perspectiva de tradução como reinstanciação do texto-fonte (SOUZA, 2010). As narrativas selecionadas para este estudo foram Things Fall Apart (1994[1958]) e Arrow of God (1989[1964]), ambas escritas por Chinua Achebe. Suas reinstanciações em português brasileiro são O mundo se despedaça (2009[1983]) e A flecha de Deus (2011), pela tradutora Vera Queiroz da Costa e Silva. De cada narrativa, foram selecionados três conjuntos de fases discursivas de diferentes estágios discursivos. Para cada conjunto de fases do texto-fonte, selecionou-se o conjunto de fases equivalente nos textos traduzidos. Os procedimentos de análise foram divididos em duas etapas. Na primeira, os recursos que realizam gradação nos textos-fonte e textos traduzidos foram identificados e classificados de acordo com seu tipo e grau de intensificação ou prototipicidade. Na segunda etapa, as análises dos textos-fonte e traduzidos foram contrastadas para identificação de variações no acoplamento e/ou na calibragem da gradação dos valores atitudinais reinstanciados. Os resultados mostram que os textos traduzidos são menos graduados do que os textos-fonte, principalmente em relação aos valores de julgamento. Essa diminuição ocorre tanto pelo não acoplamento de recursos de gradação na reinstanciação de determinados valores quanto pelo menor grau de calibragem da gradação nas escolhas lexicais.
41
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.
Full textAbstract:
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.
42
Dias, Cliver Gonçalves, and Célia Magalhães. "INTERVENÇÃO TRADUTÓRIA EM TEXTOS LITERÁRIOS:." Belas Infiéis 6, no. 1 (June 30, 2017): 103–22. http://dx.doi.org/10.26512/belasinfieis.v6.n1.2017.11421.
Full textAbstract:
Este artigo apresenta uma pesquisa exploratória que objetivou investigar a estrutura comunicativa da narrativa e os recursos de avaliação de um corpus paralelo de textos literários no par linguístico inglês/português brasileiro. A amostra do estudo foi selecionada de Arrow of God (1969), de Chinua Achebe, e sua tradução A flecha de Deus (2011), por Costa e Silva. O estudo se baseou na proposta metodológica de Rosa (2009) e Munday (2012) e foi realizado em duas etapas. Na primeira, dois procedimentos foram usados. Um foi a segmentação do texto traduzido (TT) e do texto-fonte (TF) em sentenças, pelo critério grafológico, e a classificação delas em dialogais e não dialogais. O outro foi a classificação das sentenças dialogais quanto ao modo de apresentação da fala, segundo Leech e Short (2007). Na segunda etapa, as sentenças foram analisadas com base nos subsistemas da valoração[i] (MARTIN; WHITE, 2005) quanto à ocorrência ou não de avaliações de atitude, quanto à forma de inscrição (implícita ou explícita) e à carga avaliativa (positiva ou negativa) desses recursos, bem como quanto ao comprometimento e gradação relacionados a esses recursos. Os resultados mostram que houve mudanças (shifts in translation) tanto na estrutura comunicativa da narrativa traduzida quanto nos recursos de avaliação dessa narrativa. Mostram, ainda, que o maior número de mudanças (shifts) nos recursos de avaliação ocorreu, principalmente, no grau de intensificação e na forma de inscrição dos recursos.
[i] Os termos técnicos dos subsistemas da valoração são apresentados em versalete para diferenciá-los de seu uso em outros cotextos e contextos. Além disso, cabe sublinhar que este e os demais termos do sistema da valoração estão apresentados conforme Souza (2011).
43
Kammampoal, Bawa. "The Social Use of Language: An Ethnography of Communication in Chinua Achebe’s <i>Arrow of God</i>." International Journal of Literature and Arts 10, no. 1 (2022): 28. http://dx.doi.org/10.11648/j.ijla.20221001.14.
Full text
44
Olumide Ogunrotimi, PhD and Victor O. Ogbeide, PhD. "AESTHETICS OF TRAGIC ICONOCLASM IN THE NIGERIAN NOVEL: EXAMPLES OF OKONKWO AND EZEULU." Ahyu: A Journal of Language and Literature 1, no. 3 (May 2, 2020): 127–35. http://dx.doi.org/10.56666/ahyu.v1i3.14.
Full textAbstract:
Tragic characters are the ones who remain with us long after we have encountered them in literature. Comedy might have its uses, but tragedy, with its grave actions which culminate in a catastrophic end for the central character, proposes by its very nature manifold representations of suffering and pain that catenate with our perceptions of the fallibility of humanity, a tragic narrative that substantiates human mortality. Albeit over the centuries the aesthetics of the tragic mode has received several modifications, from its origin in Greek drama to its crystalization in other literary manifestations, its core elements seem little affected. The purpose of this study is to examine the nature of tragedy in the Nigerian novel. Starting the evaluation from the scrutiny of what undergirds the tragic discourse,the basic procedure of this paper examines the aesthetics of tragedy in Nigerian fiction, using the central characters in Chinua Achebe's Things Fall Apart and Arrow of God. The paper particularly analyses how the author treats the tropes of tragic "herohood" in the African context.One of the principal conclusions of this study is the discovery that the actions and inactions of the central figures are motivated by narcissistic orientations, and the crises in their tragic narratives are engendered by their attempts to mould societal history in a direction the community does not wish to go. In the ensuing crisis between the individual and the society, the individual invariably loses because "no man is greater than his community." The study discovers that though some aspects of the misfortune and anguish experienced by these tragic protagonists parallel those of classic Western literature, they introduce different contextual dynamics and characterological complexities to the architectonics of tragedy. The study concludes with the realisation that these dynamics and complexities have helped to create a new paradigm for tragedy in African literature.
45
Kaur, Gurnoor. "Clash of Ideas and Sensibility in the writings of Joseph Conrad and Chinua Achebe." International Journal of Linguistics, Literature and Culture 3, no. 1 (January 16, 2017): 20. http://dx.doi.org/10.21744/ijllc.v3i1.349.
Full textAbstract:
The topic of this case study is Clash of ideas and sensibility in writings of Joseph Conrad and Chinua Achebe. I have portrayed how both the authors have represented Africa in their writings. Joseph Conrad is a European whereas Chinua Achebe is an African. Both of them have contrary views about the people of Africa and Africa as a country. Both show some of the effects that the white colonists had on the area, and the influence they had on the natives. In Heart of Darkness, we see the influence of Kurtz over the natives at the Inner Station, where they revered him almost as a god. At the other stations, we also see the natives being affected by the white colonists, changing their ways of living around the station, and following what the white men's command, for the most part. In Things Fall Apart, we see this in Okonkwo’s home village, where the white colonists set up a District Commissioner (D.C), and the natives bend to the laws he sets, even helping him enforce them. This completely changes their previous way of life.
46
Eyison, Henrietta Mary, Confidence Gbolo Sanka, and Mrs Philomena A. O. Yeboah. "The Language of Political Myth in Achebe?s Arrow of God." Current Research Journal of Social Sciences 7, no. 2 (April 25, 2015): 37–42. http://dx.doi.org/10.19026/crjss.7.5221.
Full text
47
Gbolo Sanka, Confidence, Patricia Gustafson-Asamoah, and Charity Azumi Issaka. "The Postcoloniality of Poor African Leadership in Achebe’s Fiction: A Close Reading of Arrow of God and A Man of the People." International Journal of Comparative Literature and Translation Studies 6, no. 2 (April 30, 2018): 84. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.2p.84.
Full textAbstract:
The paper aims at tracing the genesis of abuse of power and the irresponsibility that goes with it to its full blossoming in Achebe’s fiction through a close reading of Arrow of God and A Man of the People. Disenchantment with leadership in Africa, especially after independence, is not new on the African literary scene. But to Achebe, the problems associated with poor leadership in Africa did not start after independence. Failure in leadership only worsened in most African countries after independence due to the perpetuation of colonial vestiges. By doing a close reading of the two novels and by using the theory of postcoloniality, the researchers compare the traditional world of Ezeulu in Arrow of God to the post-independence setting of Chief Nanga in A Man of the People. The paper concludes that Africa has gone beyond the politics of post-colonialism and is now at the postcoloniality stage. In order for Africans to truly overcome the perennial problem of poor leadership, there is the need for us to first accept our role as a continent in contributing towards the failure of leadership in Africa. There is also the urgency to encourage grass root participation and understanding of modern democracy, to build stronger institutions and to put in place heavier punishments for those who abuse power.
48
Onyemelukwe, Ndubuisi H., Chidiebere E. Irolewe, Catherine O. Ogbechie, and Abosede O. Ogunnaike. "Literary cum Philoso-Religious Periscope on the Nature of Man." International Journal of English Linguistics 7, no. 6 (September 27, 2017): 88. http://dx.doi.org/10.5539/ijel.v7n6p88.
Full textAbstract:
The self-evident truth that man is a mystery to himself generates justifiable intellectual curiosity. Giving expression to such curiosity would help to further unravel the mysterious nature of man by means of philoso-religious investigations into the personality of some purposively selected major characters in the literary works of prominent African and non-African writers. Consequently, this study undertakes to investigate some creative works of world-acclaimed fame. Purposively selected for the study in this regard include Profs. Chinua Achebe and Isidore Okpewho’s fictions, Prof. Ola Rotimi’s The gods Are not to Blame, George Orwell’s narratives, Ngugi Wa Thiongo and Micere Githae Mugo’s The Trial of Dedan Kimathi, Marie Correli’s The Sorrows of Satan and Cheik Hamidou Kane’s The Ambiguous Adventure. These classics are selected, because besides being philoso-religiously oriented, their geographical settings cut across the world to validate the findings of the study. The objective of the investigation focused on the selected works is to help man understand himself now more than previously ever, especially in relation to the will of God, his creator. This objective is pursuant to the expectation that achieving it would significantly improve the quality of life on earth, and by extension, man’s eternal destiny. The theoretical premise which drives the investigation of man and his nature in the novels used for the study conceptualises man in relation to ethics and the metaphysical world. It, therefore, provides appreciable insights into man’s identity profile which distinguishes between the created man as an enemy of God and the redeemed man as a friend of God. Relying on some scientific basis, the theoretical framework establishes that God is an undeniable reality, concluding, therefore, that it translates to stark ignorance or gross senselessness not to know Him. The analysis done as part of the study confirms its hypothesis, namely, that literature is a mirror of life which is largely a reflection of the natures of the created man rather than those of the redeemed man. The confirmation of this hypothesis proves that humanity is farther away from God than she is close to Him. In other words, the final destiny of mankind, hereafter, is largely threatened. The pragmatics of this worrisome major finding is that the near-countable redeemed people of God in this generation, especially the clergy, should and must commit themselves to intensified effective creative evangelisation to forestall evil from overtaking the world. Positive response to this clarion call by the redeemed people of God found in all authentic religious sects is imperative, else, evil will eventually overtake the world and provoke God’s devastating wrath on humanity.
49
Chukwumah, Ignatius. "‘An augury of the world’s ruin’ and the making of the tragic hero in Chinua Achebe’s Arrow of God." Literator 37, no. 1 (June 30, 2016). http://dx.doi.org/10.4102/lit.v37i1.1192.
Full textAbstract:
Chinua Achebe’s Arrow of God has been adjudged by critics as a tragic work with Ezeulu as its tragic hero. However, none of these studies has paid detailed attention to the framing of Ezeulu in the historical context of his age. How he appears when compared to a classical Greek tragic hero has also been ignored. A major context giving rise to Ezeulu becoming a tragic hero is the period leading to the synthesis of two contrary histories, juxtaposed discourses and the collision of opposites and contraries in the sociocultural and political sphere of the villages of Umuaro and Okperi. This circumstance is captured by the narrator as ‘an augury of the world’s ruin’, by Nwaka as ‘the white man turned us upside down’ and by Ezeulu as ‘the world is spoilt and there is no longer head or tail in anything that is done’. Allen, an earlier District Commissioner in Things Fall Apart, but textually implicated in Arrow of God, terms it ‘great situations’. The above historical context requires more than mastery and acknowledgement by the tragic figure, in the absence of which he, a self-professed knowledgeable person, becomes a victim of what he failed to take into account. Consequently, he is set aside as a specimen for history and other men. This article will use Hegel’s and Aristotle’s theories of history and of tragedy, respectively, to explicate the above. It concludes that the tragic hero of Chinua Achebe’s Arrow of God is substantially the victim of the clash between Umuaro’s history and Hegel’s History.’n Teken van die wêreld se ondergang en die skepping van die tragiese held in Chinua Achebe se Arrow of God. Chinua Achebe se boek, Arrow of God, word deur kritici beskryf as ’n tragedie met die karakter Ezeulu as held. Niemand het egter noukeurige aandag geskenk aan hoe Ezeulu inpas in die gapings van botsende geskiedenisse soos vergestalt in die mens ten opsigte van hulle optredes, houdings, vrese en begeertes nie. Hoe hy voorkom in teenstelling met ’n klassieke Griekse tragiese held, is ook geïgnoreer. ’n Belangrike onderlinge verband wat aanleiding gee tot Ezeulu se status as tragiese held is die tydperk wat lei tot die samevoeging van twee verskillende geskiedenise naas diskoerse en die botsing van teenoorgesteldes in die sosiokulturele en politieke sfeer van die dorpies Umuaro en Okperi. Hierdie omstandighede is deur die verteller uitgebeeld as ’n teken van die wêreld se ondergang: deur Nwaka as: ‘the white man turned us upside down’ en deur Ezeulu as ‘the world is spoilt and there is no longer head or tail in anything that is done’. Allen, ’n vorige distrikskommissaris in Things Fall Apart, wat aansluit by Arrow van God, noem dit ‘great situations’. Bogenoemde historiese konteks vereis meer as die bemeestering en erkenning deur die tragiese figuur, ’n selfverklaarde kundige persoon, in die afwesigheid daarvan dat hy ’n slagoffer word van wat hy versuim het om in ag te neem. Gevolglik word hy tersyde gestel as ’n voorbeeld vir die geskiedenis en ander mans. In hierdie artikel sal Hegel en Aristoteles se teorieë van die geskiedenis en van ’n tragedie, onderskeidelik, gebruik word om bogenoemde uiteen te sit. Die gevolgtrekking is dat die tragedie held van Chinua Achebe se Arrow of God wesenlik die slagoffer van die botsing tussen die geskiedenis van Umuaro en Hegel is.
50
Mordaunt, Owen G. "Conflict and its Manifestations in Achebe's "Arrow of God"." Afrika Focus 5, no. 3-4 (September 22, 1989). http://dx.doi.org/10.21825/af.v5i3-4.6478.
Full textAbstract:
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 chiefpriest 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. KEYWORDS: English literature, Literature, Nigeria, Psychology.