Dissertations / Theses: 'Chimamanda Ngozi'

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Ramos, Neila Roberta Carvalho. "UMA HISTÓRIA SOBRE AS MUITAS HISTÓRIAS DE CHIMAMANDA NGOZI AGICHIE." Instituto de Letras, 2017. http://repositorio.ufba.br/ri/handle/ri/26386.

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Construímos uma leitura da expressão intelectual da escritora nigeriana Chimamanda Ngozi Adichie no intuito de compreender como seus escritos podem contribuir para ampliar e potencializar discussões referentes ao desmantelamento de histórias únicas da África, a subjugação feminina em contexto nigeriano e a impacto dos estigmas raciais na vida cotidiana estadunidense. Dessa maneira, investigamos como essas temáticas aparecem na prática discursiva da autora através de leituras de cenas de suas narrativas literárias, ensaios acadêmicos e ideias proferidas em palestras e entrevistas. Dialogando com outras vozes negras e/ou africanas como Molara Ogundipe (1992); Achille Mbembe (2001;2007) bell hooks (1984; 1992) entre outras, tecemos um caminho possível para uma análise mais plural sobre as muitas histórias contadas por Adichie e pudemos compreender que seus escritos negros surgem e se configuram dentro de um espaço fronteiriço em que ela precisa conciliar a sua vivência entre EUA e Nigéria lindando com todas as implicações que isso possa lhe trazer. Ademais, compreendemos que a autora reconhece as faces de histórias e personagens sem menosprezá-los, incorpora as diferenças e se vale de pertencimentos, conscientizando a urgência da busca de conhecimento do outro e de lugares, enfatizando a fuga do senso comum e da história única.
We build a reading of the intellectual expression of the Nigerian writer Chimamanda Ngozi Adichie in order to understand how her writings can contribute to broaden and strengthen discussions about the dismantling of Africa's unique histories, female subjugation in a Nigerian context and the impact of the racial stigmata in everyday American life. In this way, we investigate how these themes appear in the discursive practice of our author through readings of scenes from her literary narratives, academic essays and ideas delivered in lectures and interviews. Discussing with other black and African voices like Molara Ogundipe (1992); among others, we have woven a possible path for a more plural analysis of the many stories told by Adichie, and we have been able to understand that her black writings arise and form within a frontier space in where she needs to reconcile her experience between the US and Nigeria, bordering on all the implications that this may bring. In addition, we understand that the author recognizes the faces of stories and characters without belittling them, incorporates differences and uses belongings, making aware of the urgency of the search for knowledge of the other and of places, emphasizing the escape of common sense and single stories.

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Larsson, Charlotte. "Surveillance and Rebellion : A Foucauldian Reading of Chimamanda Ngozi Adichie’s Purple Hibiscus." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23323.

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In Purple Hibiscus, Adichie describes what happens in a family when one person, Papa Eugene, takes control and completely subjugates other family members to his wishes and demands. The author shows the dire consequences his actions have on his family but also how those actions ultimately lead to his own destruction. This essay links the restrictions and abuse suffered by Kambili and her family to Michel Foucault’s theories on torture and surveillance as detailed in Discipline and Punish. Foucault’s theories are linked to Jeremy Bentham’s Panopticon in order to further introduce the concept of surveillance. The essay describes the physical and psychological abuse suffered by the family and also details the surveillance and torture techniques used by Papa Eugene to stay in control. Moreover, it argues that power can be lost through applying too much control and by metering out punishment that is too harsh and it shows how such actions ultimately lead to rebellion.

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Flodqvist, Emma. "Formation Within the Nation : Migration and Marginalization in Chimamanda Ngozi Adichie's Americanah." Thesis, Södertörns högskola, Engelska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37875.

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Migration and its consequences are often discussed in contemporary postcolonial discussions. This topic of migration is central in Chimamanda Ngozi Adichie’s Americanah. Adichie’s portrayal of the migrating subject has placed her in the center of the Afropolitan discussion about transnational Africans and their right to represent. This essay aims to bring this discussion to light. Furthermore, with the use of Benedict Anderson’s ideas of nations as imagined communities, Edward Said’s definition of Orientalism, and Homi K. Bhabha’s concept of mimicry, this essay intends to illuminate the colonial discourse of Americanah’s America. I argue that the novel’s protagonist Ifemelu’s migration to the land of the free is bordered by remnants of colonial discourse, placing her within a western array of marginalization. As Ifemelu struggles with issues connected to her migration into a culture that marginalizes and discriminates under the proud flag of “the American Dream,” she is forced to resort to mimicry of western traits, to get access to western privilege. I contend that the mimicry of western traits consequently reduces her presence in America to partial.

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Cassilhas, Fabrício Henrique Meneghelli. "A interculturalidade em Half of a Yellow Sun, de Chimamanda Ngozi Adichie." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/167620.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2016.
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O romance Half of a Yellow Sun, de Chimamanda Ngozi Adichie, apresenta foco narrativo onisciente, em terceira pessoa, priorizando o ponto de vista de três personagens: Richard um inglês que não se identifica com a Inglaterra e se muda para a Nigéria, interessando-se pela cultura e língua igbo; Ugwu igbo, nascido e criado em uma zona rural na Nigéria, que, ao mudar-se para a cidade, para trabalhar como criado de um professor universitário, termina sua alfabetização em língua inglesa, e Olanna igbo, formada na Inglaterra, que trabalha na Nigéria como professora universitária. Em Half of a Yellow Sun, o leitor é constantemente exposto a diferentes registros da língua inglesa, como o inglês não padrão e o inglês crioulo. O objetivo deste trabalho foi comparar, à luz dos Estudos da Tradução em diálogo e dos Estudos Pós-Coloniais, duas traduções em língua portuguesa de trechos do romance em que há a ocorrência desses registros. Para tal empreendimento, foram selecionadas duas traduções: uma brasileira, de Beth Vieira, e outra portuguesa, de Tânia Ganho. Primeiramente, foi feita uma análise do texto fonte, tendo em vista (i) a percepção intercultural das/dos três personagens mencionadas, no que se refere à negociação local entre as línguas inglesa e igbo, e (ii) a forma como Chimamanda Ngozi Adichie representa este contexto intercultural a partir das três perspectivas. Em seguida, para desenvolver o estudo comparativo entre as traduções selecionadas e texto fonte, foram discutidas as relações de aproximação e afastamento entre o/a escritor(a) pós-colonial e o/a tradutor(a), com foco na dimensão política de ambas as escritas. Por fim, para contrapor o discurso logocêntrico, que toma as traduções por textos inferiores, esta pesquisa associa as relações de poder entre texto original e texto traduzido com as relações de poder entre as culturas envolvidas, denunciando, assim, o discurso opressor e enaltecendo as formas de resistência de cada uma dessas escritas. A intersecção entre os Estudos da Tradução e os Estudos Pós-Coloniais é embasada nas teorias de Spivak, Rajagopalan, Gyasi, Esteves, Tymoczko e Niranjana, que equiparam a literatura pós-colonial à tradução e/ou apresentam as relações de poder que envolvem o ofício do/a tradutor(a). Autores como Venuti e Santiago embasam as críticas referentes aos Estudos da Tradução e aos Estudos Pós-Coloniais, respectivamente.

Abstract : The novel Half of a Yellow Sun by Chimamanda Ngozi Adichie is narrated in the third person omniscient point of view and prioritizes the perspective of three characters. Richard is English yet doesn t identify with his country nor with the English people, and moves to Nigeria. He is interested in the Igbo culture and even learns the language. Ugwu is Igbo, born and raised in the countryside of Nigeria. He moves to the city to work as a houseboy in a professor s house, where he becomes literate in English. Olanna is also Igbo and, like her partner, works as a professor. She graduated in England. In Half of a Yellow Sun, the reader is constantly exposed to the English language in different registers, such as non-standard and pidgin English. In light of Translation Studies dialoguing with Post-Colonial Studies, this paper compares two translations to Portuguese of some extracts from the novel in which those kinds of registers occur. In order to do that, two official translations were selected, one from Brazil translated by Beth Vieira, and the other from Portugal translated by Tânia Ganho. First, the source text was analyzed based on (i) the three characters previously mentioned, focusing on their perception of this interculturality and (ii) how Chimamanda Ngozi Adichie represents this context through them. To perform a comparative study among the selected translations and the source text, the differences and similarities among the work of a post-colonial writer and that of a translator were presented focusing on the political dimension of both written activities. Finally, to oppose the logocentric discourse, which regards translations as inferior texts, this paper associates the power relations among the original text and the translated one to the power relations among the cultures involved, denouncing the oppressor s discourse and the acts of resistance in each of these texts. The intersection between Translation Studies and Post-Colonial Studies is based on the theories of Spivak, Rajagopalan, Gyasi, Esteves, Tymoczko and Niranjana, which compare post-colonial literature to the translation and/or present the power relations involving the translator s trade. I also use Lawrence Venuti from Translation Studies and Silviano Santiago from Post-Colonial Studies as a basis for my analysis.

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Müller, Fernanda de Oliveira. "O florescer das vozes na tradução de Purple Hibiscus, de Chimamanda Ngozi Adichie." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24185.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2017.
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Purple hibiscus, primeiro livro da escritora nigeriana Chimamanda Ngozi Adichie, é um romance de temática feminista sobre a conquista da própria voz e do rompimento com a submissão e o silêncio impostos pelo patriarcado, pela religião e pelo conservadorismo. Tomando por base as teorias da Tradução Feminista, sobretudo de Simon (1996) e Von Flotow (1997 e 2012), investigo de que forma as marcas de feminismo na obra foram abordadas na tradução para o português do Brasil. A pesquisa inicia-se pela biografia da escritora – sua conexão com a literatura pós-colonial e militância feminista –, seguindo para os vários conceitos e vertentes do feminismo. Na sequência, apresento uma análise quali-quantitativa dos termos referentes aos campos lexicais do olhar e do falar no texto de partida, tomados como indicadores do desabrochar da liberdade, e proponho alternativas à tradução de Hibisco roxo, elaboradas com o intuito de reforçar as marcas feministas. Ao final, traço um histórico da Tradução Feminista, indicando novas tendências que estão a florescer. Este trabalho trata sobre a liberdade. Sobre vozes abafadas e inaudíveis que, aos poucos, começam a se fortalecer e a serem notadas, até aflorarem completamente. É uma pesquisa sobre a luta da mulher por independência e visibilidade, em uma sociedade patriarcal que, desde os primórdios, coloca-a em uma posição assessória, inferior e incompleta em si mesma. É sobre a liberdade do ato da tradução, da autonomia da tradutora para fugir da invisibilidade e da submissão, de manipular o texto e fazer sua voz ser ouvida pelo leitor. E é também sobre o processo de conquista da liberdade pelos personagens de Purple hibiscus, e de como essa conquista está associada à militância feminista de sua autora.
Nigerian writer Chimamanda Ngozi Adichie’s debut novel, Purple hibiscus, is a feminist-themed novel about the conquest of one’s own voice and the break with submission and silence imposed by patriarchy, religion, and conservatism. Based on Feminist Translation theories, especially on Simon (1996) and Von Flotow (1997 and 2012), I investigate how the translator approached the feminist marks in the Brazilian Portuguese version. First, the research presents the writer’s biography, underscoring her connection to postcolonial literature and feminist militancy. Next, the various concepts and strands of feminism are discussed. After that, I present a quali-quantitative analysis of terms belonging to the lexical fields look and speech in the starting text, considered to be indicators of the blooming of freedom. In an attempt to intentionally reinforce the feminist marks in the text, I present alternatives to that translation of Purple hibiscus. Finally, I provide a brief background of Feminist Translation, presenting new trends that are flourishing. This work is about freedom. It is about muffled and inaudible voices that, little by little, became louder, until they finally flourished. It is a research on the struggle of women for independence and visibility in a patriarchal society which, from the earliest stages, places women in an inferior and secondary position. It is about the freedom of translation and the autonomy of the translator to fight invisibility and submission and to manipulate the text in order to make his/her voice heard by the reader. And it is also about the liberation of Purple hibiscus oppressed characters, and the connections between their freedom and the author’s feminist militancy.

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Fischer, Paulina. "The Wish for Stability : From Alienation to Femininity in Chimamanda Ngozi Adichie's Purple Hibiscus." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-30130.

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This essay concerns Purple Hibiscus and Kambili's emotional development, and explores how violence, submission and emotional dependence along with a traditional feminine gender role can hinder acknowledgement of trauma. I propose that Kambili is encouraged to take on a culturally expected feminine gender role, and her submissive disposition is discussed and connected to her constant search for a father figure. The notion of personal and collective postcolonial trauma is explained and applied to contextualise her inability to question either her father or the political situation in Nigeria. I read Kambili's change as negative and aim to show that she has internalised patriarchal structures. Her change is contrasted to the change in her brother Jaja, to show how and why they develop in different directions. Traditional gender roles are discussed from a rather general perspective, but also in a context that concern masculinity, violence and power relations.

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Morais, Thayane de Araújo. "Há coisas em volta do teu pescoço: questões de gênero em Chimamanda Ngozi Adichie." PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM, 2017. https://repositorio.ufrn.br/jspui/handle/123456789/25095.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A literatura africana, em sua poeticidade insubmissa, tem proporcionado abertura de espaços nos quais a configuração heterogênea dos países africanos estabelece as bases propícias para uma reflexão crítica do papel da literatura no mundo contemporâneo. A literatura escrita por mulheres emerge a partir das desleituras dos sujeitos subalternos silenciados, em um movimento que ressalta a especificidade subjetiva, ao passo que intensifica a desconstrução promovida pela produção artística periférica. Localizando nesse contexto a criação literária das mulheres africanas, evidencia-se o questionamento aos aparatos opressivos, diante da escrita que reúne tradição ancestral e herança colonial no labirinto das negociações culturais fundantes. Em meio a uma nova ordem mundial, na qual os direitos humanos estão sendo a cada dia oprimidos, silenciados, voltamo-nos à voz feminina articulada pelo texto literário de Chimamanda Ngozi Adichie. Em um território marcado pela violência e pelo machismo, a jovem escritora nigeriana avulta uma crítica incisiva à subalternidade do sujeito feminino na literatura. Por meio de um discurso que traduz aspectos da cultura nigeriana e americana, Adichie contesta a condição opressiva imposta à mulher pelo poder hegemônico masculinizado. Em virtude da multiplicidade observada na caracterização da mulher nigeriana, em poética embebida de sinestesias, apresenta-se uma análise da coletânea de contos A coisa à volta do teu pescoço (2012), ao se abordar as problemáticas que incidem nas personagens. Considera-se para isso uma conjuntura histórica e cultural que revela na forma de contar o anseio de as mulheres protagonizarem um destino histórico de silenciamento. Nessa perspectiva, inqueriu-se sobre os papéis de gênero e os elementos interseccionais – como raça, classe, discurso, poder, instâncias culturais – que traduzem um diálogo trans-semiótico com as questões de gênero. Ao se trabalhar com conceitos culturais inacabados, constata-se que a transgressão dos lugares opressivos reservados à mulher nigeriana ainda são mínimos. Observou-se também como a formação de uma consciência crítica que permita uma revisão da situação de violência e exclusão da mulher ainda é um grande desafio no início do século XXI. Como base para as considerações, e por meio de pesquisa bibliográfica, seguiu-se pelos caminhos das teorias literárias de cunho feminista de acordo com as reflexões de Gayatri Chakravorty Spivak (2014), Angela Y. Davis (2016) e Chimamanda Ngozi Adichie (2015), esta última, no que concerne ao seu pensar acerca da cultura, unindo consciência política ao trabalho estético.
African Literature, in its unsubmissive poeticity, has proportionate the opening spaces where heterogeneous configuration from the African countries lays the foundations for the critical reflection about the role of literature in contemporary world. Literature written by women emerges from unlearnings of silenced subalterns subjects, across a movement that stands out subjective specificity, awhile intensifies deconstruction promoted by peripheral artistic production. Located in this context, literary creation of African women, is evident the questions around oppressive devices before writing that meets ancestral tradition and colonial heritage into the maze of negotiations of cultural foundations. In between a new world order, which human rights are oppressed every day, silenced, we return to female voice articulated by the literary text of Chimamanda Ngozi Adichie. In a territory marked by violence and male chauvinism, the young Nigerian writer emphasizes an incisive criticism to the subalternity of female subject in literature. By means of a speech that translates aspects of American and Nigerian culture, Adichie answers the oppressive condition imposed to woman by the hegemonic male power. By virtue of observed multiplicity on Nigerian woman description, in poetic embedded in synesthesia, presents an analysis of a collection of short stories The thing around your neck (2012), approaching problematics focused on the characters. It is considered for that a cultural and historical conjuncture which reveals in its form of telling the women’s urge to protagonize a historic destiny of silencing. In this perspective, it was inquired about gender roles and the intersectional elements – such as race, class, discourse, power, cultural instances – that translate a trans-semiotic dialogue with gender issues. While working with unfinished cultural concepts, it is verified that transgression of oppressive places reserved to Nigerian woman are minimal. It was also verified how a critical awareness formation that permits a review of the situation of violence and exclusion of woman is still a great challenge in the beginning of XXI century. As a basis of our considerations, and through bibliographic research, we follow the paths of feminist literary theories according to reflections of Gayatri Chakravorty Spivak (2014), Angela Y. Davis (2016) and Chimamanda Ngozi Adichie (2015), the latest, as far as her thinking about culture, uniting political consciousness to aesthetic work.

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Klemner, Maria. "Postkolonial förändring och komplexitet : En studie av Chimamanda Ngozi Adichies roman En halv gul sol." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-30611.

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Cassano, Dora. "The Biafra War: Cultural Memory in two novels of Chimamanda Ngozi Adichie and Chinelo Okparanta." Thesis, Högskolan Dalarna, Afrikanska studier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28167.

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Recently new novels about the Biafra war have appeared, proving the ongoing impact of the Nigerian civil war on writers’ interest, and the importance of memory in our life. For all these reasons, I decided to write the present thesis on how memory function in a literary work. The objective is to analyse the literary representation of the Biafra war, with a special focus on individual and collective memory production through two fictional novels: Half of a Yellow Sun, by Chimamanda Ngozi Adichie, and Under the Udala Trees, by Chinelo Okparanta. In analysing the literary representations of Biafra in the light of memory studies, I have identified two levels of memory: literary characters’ memory and writers’ memory. Focusing on the level of the memory of the characters, I explored what the characters remember about the Biafra war both when the war is over and when it is still in progress, and what strategies they use to remember or to forget painful memories of the war. What emerged through this first level of analysis is how Adichie and Okparanta have offered narratives focused not only on accounts of the war, but also on feelings and emotions. Moreover, the strategies of remembering and of forgetting represent tools of survival, and they are not in a relationship of exclusion. Focusing on the level of writers’ memory, I explored the perspectives used by Adichie and Okparanta to narrate and remember the Biafra war: a perspective from below, focused on ordinary people and on their daily lives; a female perspective which represents a novelty in a literary landscape dominated by male writers; the danger of a single story and its risk to create hegemonic narratives; the fictional perspective as a way to enrich a historical event with suggestive details fruit of writers’ imagination; the Afropolitan perspective and the greater openness of mind of the new generation of African writers.

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Goubali, Talon Odile. "Littérature engagée : Une nouvelle perspective sur la guerre civile au Nigéria (1967-1970)." Thesis, Cergy-Pontoise, 2018. http://www.theses.fr/2018CERG0892/document.

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Le thème de la guerre civile au Nigéria de 1967 à 1970, aussi appelée guerre du Biafra reste un thème majeur de la littérature nigériane. Les évènements qui ont amené au conflit au lendemain de l’indépendance du pays montrent une période post-coloniale encore marquée par les maux de la construction nationale des anciennes colonies que sont le régionalisme, la religion et le problème ethnique. La fin du conflit en 1970 inaugure une ère de mutation des problèmes d’avant la guerre qui perdurent avec la succession des différents régimes au pouvoir. De plus, le conflit devient un sujet tabou à effacer des mémoires autant que de la mémoire collective nigeriane.Après la première vague des écrivains à majorité Igbo qui ont écrit sur le conflit, tels que Chukwuemeka Ike avec Sunset at Dawn (1979), Buchi Emecheta (1983), Chimamanda Ngozi Adichie reprend le thème de cette guerre sans apologie. Cette nouvelle façon d’écrire le sujet de la guerre du Biafra se veut thérapeutique et réconciliatrice.Ce travail analyse le traitement de la guerre du Biafra à travers le prisme de la Déesse Mammy Water, divinité de la cosmologie Igbo. Chimamanda Ngozi Adichie appartient à la communauté Igbo
The theme of the Nigerian civil war which lasted from 1967 to 1970, also called the Biafra war remains one of the major theme of the nigerian literature. The events that led to the war after the country’s independance point to a post-colonial period where national building is still worked up on along ethnic and religious lines. In 1970, the end of the conflict starts a new era still affected by all the issues that led to the war still visible in the different regimes leading the federation. Moreover, the conflict became a taboo topic that needed to be erased from individual as well as the nigerian collective memory.After the first wave of writers mainly from Igbo descent who wrote about the war such as Chukwuemeka Ike with Sunset at Dawn (1979), Buchi Emecheta (1983), Chimamanda Ngozi Adichie takes up the theme of the war unapologetically. Her way of writing the war ultimately wants to be the therapeutical and inclusive for all nigerians.This study analyzes the Biafran war through the prism of Mammy Water, the water goddess in the Igbo cosmology. Chimamanda Ngozi Adichie belongs to the Igbo community

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Foreman, Chelsea. "Speaking With Our Spirits : A Character Analysis of Eugene Achike in Chimamanda Ngozi Adichie’s Purple Hibiscus." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-65249.

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The purpose of this essay is to conduct a character analysis on Eugene Achike from Chimamana Ngozi Adichie’s novel Purple Hibiscus, to see whether or not the character is used by Adichie as a portrayal of colonial Nigeria and its values. I have done this by looking at the themes of violence and hypocrisy in relation to Eugene’s language usage, religious attitude, and behaviour towards others, and comparing these aspects of his personality with the attitudes shown by colonialists in colonial Nigeria. The more important issues that prove Eugene’s character is a portrayal of colonial Nigeria are: his utter disregard for his heritage and background, including the physical disregard of his father; his absolute control over his family members, both physically and mentally, which leads to violent outbursts if he is disobeyed; the fact that he is shown in the novel to be a direct product of the missionaries and colonial structure that was present in Nigeria when he grew up. These things, together with the subtle connections in Adichie’s writing that connect her novel to Things Fall Apart, firmly place Purple Hibiscus in the postcolonial category. Thus, I concluded that Eugene’s character is a portrayal of Colonial Nigeria.
Syftet med denna upsats är att genomföra en karaktärsanalys på karaktären Eugene Achike i Chimamanda Ngozi Adichis roman Purple Hibiscus, för att se ifall karaktären används av Adichie som en skildring av koloniala Nigeria och dess värderingar. Jag har gjort detta genom att undersöka två teman – våld och hyckleri – i samband med Eugenes användning av språk, religös attityd, och beteende mot andra, för att då jämföra dessa aspekter av hans personlighet med attityderna kolonisatörer hade i koloniala Nigeria. De viktigaste sakerna som bevisar att Eugenes karaktär är en skildring av koloniala Nigeria är: hans fullständiga ignoreing av sin bakgrund, inklusive den fysiska ignorering av hans pappa; hans absoluta kontroll över sin familj, både fysiskt och mentalt, vilket leder till våldsamma utbrott om han inte blir åtlydd; det faktum att han beskrivs som en produkt av missionärerna och koloniala samhället vid flera tillfällen i boken. Detta tillsammans med romanens subtila kopplingar till Achebes Things Fall Apart, placerar tveklöst Purple Hibiscus i den postkoloniala kategorin. Därmed drar jag slutsatsen att Eugene’s karaktär är en skildring av koloniala Nigeria.

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Ngwira, Emmanuel Mzomera. "Writing marginality : history, authorship and gender in the fiction of Zoe Wicomb and Chimamanda Ngozi Adichie." Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80229.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This thesis puts the fiction of Zoë Wicomb and Chimamanda Ngozi Adichie into conversation with particular reference to three issues: authorship, history and gender. Apart from anything else, what Wicomb and Adichie have in common is an interest in the representation of marginalised or minority ethnic groups within the nation - the coloured people in the case of Wicomb, and the Igbo in the case of Adichie. Yet what both writers also have in common is that neither seems to advocate the reification of these ethnic groups in reformulations of nationalist discourse. The thesis argues that through their focus on various forms of marginality, both Wicomb and Adichie destabilise traditional notions of nation, authorship, history, gender identity, the boundary between domestic and public life, and the idea of “home”. The thesis focuses on four main topics, each of which is covered in a chapter: the question of authorial voice in relation to history; perspectives offered by women characters in relation to oppressive or traumatic historical moments; oppressive or traumatic histories intruding into the intimate domestic space; and the issue of transnational migration and its (un)homely effects. Employing concepts of metafiction and mise-en-abyme self-reflexivity, the study begins by considering the ways in which Wicomb’s David’s Story and Adichie’s Half of a Yellow Sun both reflect on the idea of authorship. Focusing on the ways in which each text draws the reader into witnessing authorship, the thesis argues that the two novels can be put into conversation as they both stage dilemmas about authorship in relation to those marginalised by national histories. Following on from this idea of marginalisation by nationalist histories, the thesis then proceeds to examine both writers’ foregrounding of women’s stories that are set in oppressive and/or violent historical times – under apartheid in the case of Wicomb’s You Can’t Get Lost in Cape Town, and during the Biafran war in the case of Adichie’s Half of a Yellow Sun. Utilising ideas about gender, history and literary history by Tiyambe Zeleza, Florence Stratton and Elleke Boehmer, the study analyses how, beginning with father-daughter relationships, Wicomb and Adichie wean their female characters from their fathers’ control so that they may begin telling their own stories that complicate and subvert the stories that their fathers represent. Drawing on Sigmund Freud’s theory of “the uncanny” and Homi Bhabha’s postcolonial reading of that theory, the study then turns to discuss the ways in which oppressive national histories become manifest in domestic spaces (that are usually marginalised in national histories), turning those spaces into unhomely homes, in Wicomb’s Playing in the Light and Adichie’s Purple Hibiscus. In both novels, purity (whether racial or religious) is cultivated in the family home, but this cultivation of purity, which is reflected symbolically in the kinds of gardens each family grows, evidently has “unhomely” effects that signal the return of the repressed, of that which is disavowed in discourses of purity. Since both Wicomb and Adichie are African-born women authors living abroad, and since the “unhomely” aspects of transnational existence are reflected upon in their fiction, the study finally considers the forms of marginality to the national posed by the migrant. Transnational migration is examined in Wicomb’s The One That Got Away and in Adichie’s The Thing Around Your Neck, placing stories from these two recently published sets of short stories into dialogue.
AFRIKAANSE OPSOMMING: Hierdie tesis plaas die fiksie van Zoë Wicomb en Chimamandi Ngozi Adichie in gesprek met mekaar, met verwysing na veral drie sake: outeurskap, geskiedenis en geslag (gender). Afgesien van ander kwessies het die fiksie van Wicomb en Adichie ‘n belangstelling in die fiktiewe voorstelling van gemarginaliseerde of minderheidsgroepe in die nasie in gemeen – die kleurlinggroep in die geval van Wicomb en die Igbo in die geval van Adichie. Nogtans beveel geeneen van hierdie twee skrywers ‘n reïfikasie van nasionalistiese diskoers aan nie. Die tesis voer aan dat, deur hulle fokus op verskeie vorme van marginaliteit, beide Wicomb en Adichie tradisionele konsepte van nasionalisme, skrywer-skap, geskiedenis, geslagsidentiteit, die grens tussen private en publieke lewe en die idee van ‘n eie tuiste destabiliseer. Die vier hoof-onderwerpe van die tesis is word elk in ‘n eie hoofstuk behandel: die kwessie van ‘n skrywerstem in verhouding tot die geskiedenis; perspektiewe wat belig word deur vrouekarakters in kontekste van onderdrukkende of traumatiese historiese momente; hoedat onderdrukkings- of traumatiese geskiedenisse die private sfeer binnedring; asook die kwessie van ‘n migrasie oor landsgrense en die ontheimingseffek hiervan. Deur die gebruik van metafisiese en mise-en-abyme selfrefleksie begin die studie deur te reflekteer op hoe Wicomb se David’s Story en Adichie se Half of a Yellow Sun [aangaande] die idee van outeurskap reflekteer. Deur te fokus op die wyses waarop beide tekste die leser betrek om skrywerskap waar te neem, voer die tesis aan dat die twee romans met mekaar in gesprek geplaas kan word, terwyl albei dilemmas van outeurskap met betrekking tot diegene wat in nasionale geskiedskrywing gemarginaliseer word, sentraal plaas. Volgende op hierdie kwessie gaan die tesis dan voort om albei skrywers se vooropstelling van vroue se verhale gesitueer in onderdrukkende of gewelddadige tye – onder apartheid in die geval van Wicomb se You Can’t Get Lost in Cape Town en gedurende die Biafraanse oorlog in Adichie se Half of a Yellow Sun – te ondersoek. Met behulp van idees aangaande gender, geskiedenis en literêre geskiedenis van Tiyambe Zeleza, Florence Stratton en Elleke Boehmer, analiseer die tesis hoedat, beginnende met vader-dogter verhoudings, Wicomb en Adichie hul vroulike karakters loswikkel van hul vaders se kontrole sodat hulle kan begin om hul eie verhale te vertel – stories wat die verhale van hul vaders kompliseer en ondermyn. Met behulp van Sigmund Freud se teorie van die onheimlike en Homi Bhabha se postkolonialistiese interpretasie van daardie idee, gaan die tesis dan voort deur maniere waarop onderdrukkende nasionale geskiedenisse in die tuis-ruimtes (wat gewoonlik deur nasionale geskiedskrywing gemarginaliseer word) manifesteer, met die onheimlike effek hiervan op die tuisruimte – beide in Wicomb se Playing in the Light en in Adichie se Purple Hibiscus – te ondersoek. In albei romans word reinheid ( van ras of geloof) in die familie-tuiste gekultiveer, maar hierdie nadruk op reinheid – simbolies gereflekteer in die tuine wat deur albei gesinne aangelê word – het wel onmiskenbare onheimlike gevolge wat die terugkeer van wat onderdruk is (in die naam van reinheid) aandui. Omdat beide Wicomb en Adichie vroue-skrywers is wat in Afrika gebore is maar oorsee lewe, en omdat die onheimlike aspekte van ‘n transnasionale lewensstyl in hul fiksie oorweeg word, beskryf die tesis die vorms van marginaliteit met betrekking tot die nasionale wat deur die migrant tot stand kom. Transnasionale migrasie word in Wicomb se The One that Got Away en Adichie se The Thing around your Neck oorweeg, wat die verhale uit hierdie twee versamelings in gesprek met mekaar plaas.

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Palapala, Joan Linda. "There Is No Place For African Women: Gender Politics in the Writings of Chimamanda Ngozi Adichie." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1537.

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My dissertation interrogates Chimamanda Ngozi Adichie’s representation of African women in her literary oeuvre. I argue that her female characters bear witness to intersecting oppressions of African women portraying them as being extremely marginalized at home and lacking achievable alternate homes. This study also interrogates Adichie’s feminist philosophy and posits that she typically agitates for equality for all regardless of sex, gender, race, and/or other defining identities. Lastly, I argue that Adichie uses the practice of the African novel to rewrite the character of African women in African literature where her uniqueness hinges on her interrogation of the place of Africans in contemporary world culture, in turn, uses the novel to critique society’s hierarchies of privilege and oppression and of stereotypical representation of Africa and Africans in the world arena.

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CAVALCANTE, Edilma Bezerra. "Um percurso de leitura de Americanah: a experiência que empodera?" Universidade Federal de Pernambuco, 2017. https://repositorio.ufpe.br/handle/123456789/24618.

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Este trabalho tem como premissa realizar uma leitura-crítica feminista do romance Americanah (2014) de Chimamanda Ngozi Adichie a fim de observar os caminhos percorridos pela personagem Ifemelu, as experiências e os momentos de empoderamento ao longo da narrativa. Para isso nossa sustentação teórica terá como base a Crítica Feminista, com nomes importantes do feminismo negro e pós-colonial como Collins (2002), Gonzáles (1984), Mama (2013), Spivak (2014) e Hooks (2015) e de teóricas dos estudos da mulher e literatura como Schmidt (1999), Oliveira (1991) e Rago (2013). Nossa interpretação prioriza o modo de leitura comprometido com a importância do gênero e suas intersecções com cor e classe como categorias analíticas válidas. Neste sentido, nosso trabalho é o resultado dos sentidos produzidos por uma experiência particular de leitura de um sujeito feminino que lê uma mulher contando a história de outra mulher, em um movimento que se pretende assim mesmo, cíclico, estimulando e valorizando a pesquisa e produção acadêmica das mulheres e sobre as mulheres.
This work is premised perform a feminist critical-reading of the novel Americanah (2014) of Chimamanda Ngozi Adichie to observe the paths taken by the character Ifemelu, experiences and moments of empowerment throughout the narrative. For this our theoretical support will be based on the Feminist Critique, with important names of black feminism and postcolonial as Collins (2002), Gonzalez (1984), Mama (2013), Spivak (2014) and Hooks (2015) and theoretical of women and literature studies as Schmidt (1999), Oliveira (1991) and Rago (2013). Our interpretation prioritizes reading so committed to the importance of gender and its intersections with color and class as valid analytical categories. In this sense, our work is the result of the senses produced by a particular reading experience of a female subject who reads a woman telling the story of another woman, in a move that is intended anyway, cyclical, stimulating and enhancing the research and production academic women and about women.

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Nthunya, Manosa. "The past in the present: race, gender and transnationalism in Zoë Wicomb’s October and Chimamanda Ngozi Adichie’s Americanah." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/3939.

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This thesis will interrogate the ways in which the most recent novels of Zoë Wicomb and Chimamanda Ngozi Adichie (namely October and Americanah) explore race, gender and transnational issues. Wicomb and Adichie share an interest in representing the lives of people who have been historically marginalised by racial and gender classifications. This thesis will argue that historical and stereotypical ways of looking at people, particularly African people, are still prevalent in the twenty-first century. Wicomb’s interest is in the coloured community and the impact that apartheid ideology has had on it. She shows, as this thesis will argue, that notions of shame and respectability still influence the coloured community, post-1994, in the same ways they did under apartheid. Furthermore, the thesis will show that religion, which was used to justify apartheid, has been instrumental in maintaining racist and sexist norms in the coloured community in post-apartheid South Africa. Adichie’s novel, on the other hand, shows the impact of gender norms in Nigeria on her female characters. Unlike characters in Wicomb’s novel, Adichie’s mostly experience racial bias when they move to Western countries. This thesis will argue that many Western countries, which were the main beneficiaries of colonialism, continue to ‘other’ Africans, in spite of their claims to respect all human beings. Wicomb’s and Adichie’s novels depict characters that are moving between different continents, along with the impact that this has on them. In the twenty-first century, more people are moving between different spaces and, as a result, interacting with different cultures. These migrations, as this thesis will show, give rise to paradoxical circumstances: people are still being judged according to their race and gender, in spite of the freedom that these moves are supposed to lead to. Of central importance to both novels then is the question of home and belonging. Since people are moving between different continents, is it still possible to belong to one place? Is it in fact possible to belong at all? These are some of the questions that will be raised and answered in this thesis. Lastly, the thesis will look at the thematic representations of reading and writing in the novels under consideration. This is most evident in Adichie’s novel where her main character starts blogging as a way to express her dissatisfaction with the racist and sexist environment she encounters in the United States of America. The thesis will explore how Adichie examines blogging as a mode of communication that is unique to the twenty-first century. It will argue that it is perhaps through new media that historically subjugated subjects, such as African people and women, will be able to express themselves. Less hackneyed modes of communication might provide the necessary channels for those who have historically been denied voice to finally find it.

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Danaila, Ioana. "Construction, évolution et questionnements identitaires dans la littérature nigériane contemporaine." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALL005.

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La littérature nigériane du début du XXIe siècle repositionne la notion d'identité dans un contexte d'immigration et de mondialisation qui la complexifie et la remet en question. Si l'affirmation de l'identité nationale n'est plus une priorité, la troisième génération d'écrivains nigérians met l'accent sur des représentations de l'identité comme parcours et dynamique.L'identité est d'abord envisagée comme une construction spatio-temporelle axée sur l'héritage des cultures traditionnelles, les représentations de l'espace et le rapport à l'Histoire. Toutefois, cette construction est remise en question à travers l'expérience traumatique et l'immigration. L'entre-deux spatial et culturel qui en résulte engendre une crise des liens familiaux et de la filiation, qui deviennent ainsi l'objet d'un conflit entre l'identité héritée et l'identité créée. Enfin, cet élan vers l'avenir des possibles donne à l'identité une configuration kaléidoscopique, à l'image de la pluralité linguistique et l'intertextualité. L'écriture du soi est associée à une chambre d'écho de langues, de voix et de formes littéraires enchâssées.Pour conclure, l'époque de la mondialisation et de la mobilité traduit aussi une transformation de la notion d'identité en raison des multiples espaces culturels où vivent les individus. Ainsi, l'écriture de l'identité comme « donnée initiale » évolue vers une écriture de la somme des possibilités d'être
Nigerian literature at the dawn of the 21st century places the notion of identity in a context of immigration and globalization which complexifies and questions it. If the affirmation of national identity is no longer a priority, the third generation of Nigerian writers focuses on representations of identity as process and dynamics.Identity is first envisaged as a spatial and temporal construction around the heritage of Nigerian traditional cultures, the representations of space and its relation to History. However, this construction is questioned through the traumatic experience and immigration. The resulting spatial and cultural in-between space entails a crisis of the family ties, which become the object of a conflict between inherited and created identity. Finally, this momentum towards the future gives identity a kaleidoscopic configuration related to linguistic plurality and intertextuality. The writing of the self is associated to an echo chamber of languages, voices and embedded literary forms.To conclude, the age of globalization and mobility entails a transformation of the notion of identity due to multitude of cultural spaces where individuals live. The writing of the self as « initial data » thus evolves towards a writing of the sum of the possibilities of being

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Campos, Juliana Sant\'Ana. "O Sétimo Juramento de Paulina Chiziane e Hibisco Roxo de Chimamanda Ngozi Adichie: um olhar sobre a constituição das personagens." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-19032019-124450/.

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É possível afirmar que a produção literária de qualquer sistema social dialoga com o contexto histórico, cultural, econômico e político dentro do qual está inscrita, e tal contexto, por sua vez, também dialoga e reage a essa produção definindo um constante movimento sistêmico. Tais imbricações entre literatura e contexto social incidem na construção das personagens, muitas vezes, mobilizadas, nos textos literários, pela construção de suas próprias identidades e em tensão não só com o contexto social dentro do qual vão sendo inscritas, mas também e, inevitavelmente, com as demais personagens que integram a narrativa ficcional. É a partir desses movimentos entre a constituição das personagens, suas identidades e seus respectivos contextos sociais que os romances, O Sétimo Juramento, da escritora moçambicana Paulina Chiziane e, Hibisco Roxo, da escritora nigeriana Chimamanda Ngozi Adichie serão analisados. Tendo por base conjunturas históricas cujas especificidades estão demarcadas, Moçambique e Nigéria, é que as personagens femininas dos romances de Adichie e de Chiziane serão aproximadas e se distanciarão entre si, mas, continuamente em tensão, confrontam o universo masculino. Essas personagens acabam por ascender nessas narrativas ficcionais como mulheres que vislumbram rupturas de sistemas sócio-político-econômico-culturais e acabam por desencadear, sobretudo, novas relações plurais de identidade. Em ambos os romances, de maneira confluente, a dinâmica das tramas reside na movimentação, transformação e ação das personagens femininas que se redescobrem na pluralidade de sua constituição como seres humanos e plenas de possibilidades concretas e objetivas de transformação social para conferirem diferentes saídas para as sociedades de classes, historicamente, opressoras, machistas, patriarcais e opressivas.
It is possible to affirm that the literary production of any social system dialogues with the historical, cultural, economic and political context within which it is inscribed, and that context, in turn, also dialogues and reacts to this production defining a constant systemic movement. Such imbrications between literature and social context focus on the construction of the characters, often mobilized in literary texts, for the construction of their own identities and in tension not only with the social context within which they are being inscribed but also and, inevitably, with the other characters that integrate the fictional narrative. It is from these movements between the constitution of the characters, their identities and their respective social contexts that the novels, O Sétimo Juramento, by the Mozambican writer Paulina Chiziane and, Purple Hibiscus, by the Nigerian writer Chimamanda Ngozi Adichie will be analyzed. Based on historical conjunctures whose specificities are demarcated, Mozambique and Nigeria, is that the female characters of Adichie and Chiziane novels will approximate and distance themselves from each other, but continually in tension, they confront the masculine universe. These characters end up ascending in these fictional narratives as women who envisage ruptures of socio-political-economic-cultural systems and end up triggering, above all, new plural relations of identity. In both novels, in a confluent way, the dynamics of the plot lies in the movement, transformation and action of the female characters who rediscover themselves in the plurality of their constitution as human beings and full of concrete and objective possibilities of social transformation to give different exits to the class societies, historically, oppressive, macho, patriarchal and oppressive.

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Ventura, Priscilla de Carvalho Maia. "WE HAVE FALLEN APART: o legado colonial em Purple Hibiscus de Chimamanda Adichie e Things Fall Apart de Chinua Achebe." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7879.

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A presente dissertação propõe o estudo das consequências da dominação colonial britânica sobre a República Federal da Nigéria no que concerne à religião, educação, língua, raça e gênero, tendo como objetos de análise Things Fall Apart (1958) de Chinua Achebe e Purple Hibiscus (2003) de Chimamanda Ngozi Adichie. A maneira de ler e produzir literatura vem se metamorfoseando ao longo dos séculos XX e XXI, abrindo espaço para que despontem as literaturas pós-coloniais, isto é, obras que possuem como atributo comum o fato de emergirem da experiência da colonização. Impulsionada por este contexto, a produção literária africana vem conquistando espaço e notoriedade no cenário mundial. Este trabalho busca relacionar literatura e situação sócio-política, trazendo para o debate vozes historicamente silenciadas e abrindo possibilidades de resistência às perspectivas impostas pelo olhar do colonizador, através da investigação da literatura nigeriana. Embora o período de dominação britânica sobre a Nigéria tenha chegado ao fim, as consequências de tal política ainda se fazem presentes no cotidiano daquele povo, seja na religião tradicional brutalmente substituída pelo cristianismo, nos idiomas autóctones que perdem lugar para a língua inglesa, no sistema de aprendizado estrangeiro que toma o lugar do ensino familiar ou na valorização da pele branca e do sistema patriarcal de poder. Tendo destacado papel no estabelecimento da estrutura colonial, busca-se aqui converter a literatura em instrumento de libertação.
The present thesis proposes the study of the consequences of British colonialism over the Federal Republic of Nigeria concerning religion, education, language, race and gender, having as objects of analyses Things Fall Apart (1958) by Chinua Achebe and Purple Hibiscus (2003) by Chimamanda Ngozi Adichie. The way in which literature is written and read has been changing throughout the 20th and 21st centuries, opening space to the postcolonial literatures, that is, literatures that have as a common background the fact that they come from the experience of colonialism. Propelled by this context, African literary production has been achieving space and renown in the global scenery. This work aims to relate literature and social-political situation, bringing to the debate historically silenced voices, opening possibilities to resist the colonial gaze while investigating the Nigerian literature. Even though the british colonial rule has come to an end, the consequences of this politics are still present in the daily lives of that people, in the fact that traditional religion was brutally substituted by Christianism, in the ancient languages replaced by English, in the educational system that took over home schooling, in the valorization of white skin and the patriarchal power system. Literature has a central role in establishing colonial structures and this work tries to convert literature into a liberation tool.

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Zakaria, Safa. "Promoting Intercultural Understanding in the ESL/EFL Classroom through Chimamanda Ngozi Adichie’s The Thing Around Your Neck and Marjane Satrapi’s Persepolis." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-65491.

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This paper aims to discuss how teachers can promote intercultural understanding in the ESL/EFL classroom by teaching two multicultural novels, Chimamanda Ngozi Adichie’s The Thing Around Your Neck and Marjane Satrapi’s Persepolis. I argue that teaching multicultural literature in English classes can promote intercultural understanding by creating what language pedagogy theorist Ulrika Tornberg calls a “space-in- between” for students, regardless of whether they have multicultural backgrounds or not. All students benefit from the kinds of literary experience that such novels can offer by creating tolerance. They can also help all students, regardless of their cultural backgrounds, become what educational philosopher Martha Nussbaum refers to as “world citizens” as opposed to “narrow citizens” (85). I provide a lesson plan based on text-based reading strategies that could help students identify literary themes presented in The Thing Around Your Neck and Persepolis, because it will help students relate to the circumstances of the characters and create a deeper understanding of the implied meaning behind the stories.

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Teotônio, Rafaella Cristina Alves. "Por uma modernidade própria: o transcultural nas obras Hibisco roxo, de Chimamanda Ngozi Adichie, e O Sétimo Juramento, de Paulina Chiziane." Universidade Estadual da Paraíba, 2013. http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/1898.

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In recent times, the African literature starts to shift from its previous nationalist function as to conceive modernity. The search for what Édouard Glissant (2005) discusses concerning a specific modernity is observed. This literature, when understanding how consuming is the attempt to conquer an identity proper to African nations, reflects the impossibility of return to a pre-colonial past and that the hibridity of its cultures is not only the result of the European colonization, but also an existing reality before the colonization. The current attempt is to search for a modernity that is not the homogenizing, imposed by the globalization, in which the identities form easily commerciable patterns and the minorities are subordinated. The specific modernity" that is searched for, starting with the communication of the African literature and its societies, is a modernity with rhizomatic that tries to give voice to subjects previously hidden. In this search, the feminine authorship shows a particularized movement introduced in contemporary African literature. Women, before and after the colonization were seen as subjects stigmatized and violated by patriarchy, establishing with the literary expression a relationship that reveals and has the need to talk about their conditions as a minority and the condition of of other minorities. This work proposes to study two contemporary African female writers in whose works one can read the search and problematization of the modernity of their nations. The study analyzes the works The seventh oath (2000), written by the Mozambican writer Paulina Chiziane and Purple hibiscus (2011), by the Nigerian, Chimamanda Ngozi Adichie. Using the comparative method, the works are analysed by examining the way the authors communicate literally, producing in their narratives, updates of the African values, previously held forth by writers of other generations. Both narratives establish debates that distance themselves from the anterior perspective of African literatures when creating a face for the nation, in an attempt to invent a specific identity for them, because the narratives in The seventh oath and Purple hibiscus show an African identity that tries not to be fixed, imobile ou unique, however it is different due to its diversity of identities that relate to each other in the contemporainity.
Na atualidade, as literaturas africanas se deslocam da antiga função nacionalista para conceber a modernidade. Observa-se a busca do que Édouard Glissant (2005) diz a respeito de uma modernidade própria . Essas literaturas, ao entenderem o desgaste produzido pela tentativa de conquistar uma identidade própria às nações africanas, refletem a impossibilidade de volta a um passado pré-colonial, e que a hibridez de suas culturas não é somente resultado do encontro com a colonização europeia, mas uma realidade existente antes da colonização. A atual tentativa é de buscar uma modernidade que não seja a homogeneizante, imposta pela globalização, em que as identidades formam padrões facilmente comercializados e as minorias são subalternizadas. A modernidade própria procurada, a partir da comunicação das literaturas africanas com suas sociedades, é uma modernidade com identidades rizomáticas que tenta dar voz a sujeitos antes ocultados. Nessa busca, a autoria feminina demonstra uma visão particularizada do movimento instaurado nas literaturas africanas contemporâneas. As mulheres, antes e depois da colonização foram vistas como sujeitos estigmatizados e violentados pelo patriarcalismo, estabelecendo com a expressão literária uma relação que revela e tem a necessidade de dizer sobre sua condição minoritária e sobre a condição de outras minorias. O trabalho propõe estudar obras de duas escritoras africanas contemporâneas em cujas obras se leem a busca e problematização da modernidade de suas nações. O estudo analisa as obras O sétimo juramento (2000), da escritora moçambicana Paulina Chiziane, e Hibisco roxo (2011), da escritora nigeriana Chimamanda Ngozi Adichie. Utilizando o método comparativo, realiza-se a análise das obras examinando o modo como as escritoras se comunicam literariamente, produzindo, em suas narrativas, atualizações dos valores africanos antes pregados por escritores de outras gerações. As narrativas de O sétimo juramento e Hibisco roxo mostram uma identidade africana que não se quer fixa, imóvel ou única, mas que se diferencia pela diversidade de identidades que se relacionam na contemporaneidade.

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Linder, Eva. "Respekt : En studie av krigets påverkan på människosynen i En halv gul sol." Thesis, Uppsala universitet, Teologiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-302572.

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Människor som lever i krig påverkas av våld, hot, svält och flykt vilket i förlängningen kan påverka deras människosyn. Uppsatsen undersöker hur tre karaktärer i Chimamanda Ngozi Adichies roman En halv gul sol påverkas, vad gäller människosyn, av att leva i Biafrakriget. Fokus för studien är självrespekt och respekt för andra, baserat i teorier om respekt för alla människors lika värde. De tre karaktärerna har olika utgångspunkter vad gäller självrespekt och respekt för andra och påverkas även på olika vis av kriget.

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Roy, Vilasini. "New Homes and New Names: The African Migrant Novelin the Digital Age." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131816.

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In this thesis, I attempt to explore the development of migrant literature in an era of digitalcommunication. The latest developments in communication technology have certainlydestabilized patterns of content creation and dissemination. While many use it uncritically,mostly as a means of information and keeping in contact, there are new avenues open forthose who wish to engage actively and create a space for new dialogue. And though theseonline platforms have not completely overturned hierarchies between literatures from theWest versus the global South, they have certainly altered both the content and form of workoriginating from African countries. By doing so, digital technology has boosted the creationof an African identity that moves away from victimhood by reimagining ideas of what itmeans to be and write from an African perspective where a multiplicity and hybridity ofvoices exist. I have chosen three “digital migrant novels” (Caren Irr’s term): ChimamandaNgozi Adichihe’s Americanah, NoViolet Bulawayo’s We Need New Names, and Open Cityby Teju Cole. I begin by situating these novels in a technologically sophisticated, mediaoriented space, where the geography of nations is challenged by overlapping spaces of digitalcommunication. My aim is threefold – to identify new patterns in migrant identity and to seehow they are affected by technology use; to see whether these patterns correspond to theemergence of an Afropolitan identity (and to understand what permutations this Afropolitanidentity can take on). And and finally, to analyse how digital media communication shapes amigrant’s relationship to homeland and language.

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Michanek, Mårten. "Alla elever borde vara feminister : Elevers och lärares tankar om möjligheter och utmaningar med feministisk undervisning." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-139816.

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Alla borde vara feminister av Chimamanda Ngozi Adichie delades ut till Sveriges gymnasietvåor läsåret 2015/2016 med en medföljande lärarhandledning. I den här uppsatsen berättar elever och lärare om sina erfarenheter av boken och undervisning utifrån den. Halvstrukturerande intervjuer, en enkät och en fokusgrupp har använts för att samla in materialet som sedan analyserats tematiskt utifrån Freires kritiska pedagogik, Spivaks postkoloniala perspektiv och Kumashiros teorier om lärande genom kris. Både elever och lärare vittnar om ämnets och undervisningens angelägenhet och förändrande potential, men också om riskerna med att undervisningen reproducerar svenskhet som det jämställda och vice versa. Ett par slutsatser är att ett historiskt perspektiv kan bidra till att få normer och strukturer att framstå som föränderliga, och ett postkolonialt perspektiv kan behövas för att sexism inte oproblematiserat ska tillskrivas den etniske Andre, något som flera andraspråkselever vittnar om. Vidare diskuteras det didaktiska värdet med en intersektionell analys och att låta eleverna själva formulera problemen som undervisningen tar sin utgångspunkt i.

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McQuarrie, Kylie. "Sacred Things, Sacred Bodies: The Ethics of Materiality and Female Spirituality in Purple Hibiscus." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4409.

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Thing theorist Bill Brown writes that “the thing names less an object than a particular subject-object relation.” This article examines the subject-object relation between African things and African bodies in Nigerian author Chimamanda Ngozi Adichie's first novel, Purple Hibiscus. While the main character, Kambili, eventually learns to assimilate Western Catholicism into her Nigerian reality, her Christian fundamentalist father, Eugene, uses Catholicism to justify his self-hating destruction of African things and bodies. This article argues that both reactions are rooted in the characters' ability or inability to see African material things, including both objects and bodies, as autonomous subjects. Adichie's novel demonstrates that religious syncretism centered in an ethics of things is a viable, fruitful reaction to the colonizers' religion, and that religious practice can be healthily enacted through the medium of things and bodies.

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Fälth, Johannes. "Undervisning med ett sponsrat läromedel på gott och ont : En intervjustudie om hur gymnasielärare har arbetat med Alla borde vara feminister i svenskundervisningen." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61097.

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This study aims to investigate how secondary school teachers have used We should all be feminists and the accompanying teacher’s guide and if they used the material in a problematizing way, given that it is sponsored. Hilary Janks’ model of critical literacy served as theoretical basis in this study. To collect data, qualitative interviews were conducted, that included five secondary school teachers. The transcribed material was processed and analyzed by the method Qualitative Content Analysis and with a deductive approach. The main results show that teachers primarily used the material as a way to meet the criteria of the curriculum and to train students in certain moments of the Swedish subject, rather than as a material for the discussion of feminism and gender equality. The study’s most conspicuous result was that none of the teachers had reflected on the fact that the material was sponsored by a numerous of organizations. The teachers viewed the sponsors as harmless and the material as a text from a fiction writer, rather than a material from trade unions and foundations who wish to exert influence in the classroom. In the analysis by Janks’ model of critical literacy, the results show that all of the teachers had worked with critical literacy in the classroom to some extent, but that they had not realized all of Janks’ criteria on how to work with critical literacy in classrooms.

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Ford, Na'Imah Hanan. "A theory of Yere-Wolo coming-of-age narratives in African diaspora literature /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5959.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 12, 2009) Includes bibliographical references.

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Wambui, Mary Theru. "Female identity in the post-millennial Nigerian novel: a study of Adichie, Atta, and Unigwe." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020013.

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This thesis project examines the work of three female Nigerian authors: Chimamanda Ngozi Adichie, Sefi Atta and Chika Unigwe. They are part of a growing number of young African writers who are receiving international acclaim and challenging narratives that have long defined the continent in pejorative terms. They question what it means to be female and African in a transcultural, global world but counter discourses that are both restrictive and prescriptive. Their female characters are not imaged in binary terms as either victims or villains. For all three writers, the African story has to be told in its entirety incorporating what some may argue are negative stereotypes but doing so in a manner that examines and undermines those same stereotypes. For the purposes of the thesis, I focus on their first novels: Adichie’s Purple Hibiscus, Atta’s Everything Good Will Come and Unigwe’s On Black Sisters’ Street. Chapter One examines Purple Hibiscus and argues that the novel is much more than a coming of age story or, as some critics have posited, an allegory of the postcolonial state. Chapter Two highlights Atta’s use of fairly familiar feminist theories but grounds them in the lived realities of the African city. All three authors are concerned with issues of violence and death. Unigwe’s novel, which forms the focus of Chapter Three, offers a critical perspective on how both of those themes intersect with the increasing commercialisation of global culture. Her characters are female sex workers whose lives are irrevocably altered by the murder of one of their colleagues. I conclude by arguing that the three novels offer a nuanced if not necessarily new understanding of the various social, economic and political forces that continue to shape the lives of women on the continent.

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Campbell, Carly Anne. "there Is No Other: Situational Identity in Adichie's "A Private Experience"." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366725815.

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Oxblod, Simon. "Kulturell identitet i En halv gul sol och Atlantens mage : En postkolonial läsning av två icke-västerländska romaner." Thesis, Södertörns högskola, Lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-23377.

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This study analyses two non-western novels used in the subject of Swedish in upper secondary school: Fatou Diomes The Belly of the Atlantic and Chimamanda Ngozi Adichies Half a Yellow Sun. Looking at how the books female main character relate to Stuart Halls theory of cultural identity, I come to the conclusion that they somewhat differently relate to an essential ”authentic” self. Salie talks explicit about a generic African soul that she possesses. Olanna never talks about anything ”authentic”, but her narrative and contrary subject positions can be read as a way of demasking her European ”white” self in favour of a truer Igbo self. I also come to the conclusion that both novels use themes of alienation related to gender structures and positioned westernness and that this kind of reading could contribute to interesting classroom discussions about a dynamic interpretation on culture and identity.

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Andersson, Karolina. "Svart först i Amerika : En studie om skönlitteratur som politiskt uttrycksmedel." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-402670.

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Smit, Willem Jacobus. "Becoming the third generation: negotiating modern selves in Nigerian Bildungsromane of the 21st century." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2335.

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Thesis (MA (English))--University of Stellenbosch, 2009.
ENGLISH ABTRACT: In recent years, original and exciting developments have been taking place in Nigerian literature. This new body of literature, collectively referred to as the ―third generation‖, has lately received international acclaim. In this emergent literature, the negotiation of a new, contemporary identity has become a central focus. At the same time, recent Nigerian literary texts are articulating responses to various developments in the Nigerian nation: Nigeria‘s current political and socio-economic situation, diverse forms of cultural hybridisation, as well as an increasing trans-national consciousness, to mention only a few. Three 21st-century novels – Chimamanda Nogzi Adichie‘s Purple Hibiscus (2004), Sefi Atta‘s Everything Good Will Come (2004) and Chris Abani‘s GraceLand (2005) – reveal how new avenues of identity-negotiation and formation are being explored in various contemporary Nigerian situations. This study tracks the ways in which the Bildungsroman, the novel of self-development, serves as a vehicle through which this new identity is articulated. Concurrently, this study also grapples with the ways in which the articulation and negotiation of this new identity reshapes the conventions of the classical Bildungsroman genre, thereby establishing a unique and contemporary Nigerian Bildungsroman for the 21st century. The identity that is being negotiated by the third generation is multi-layered and inclusive, as opposed to the exclusive and unitary identities which are observable in Nigerian novels of the previous two generations. Such inclusivity, as well as the hybrid environments in which this identity is being negotiated, results in a form of ―identity layering‖. Thus, the individual comes into being at the point of intersection, overlap and collision of various modes of self-making. Such ―layering‖ allows the individual, albeit not without challenge, to perform a self-styled identity, which does not necessarily conform to the dictates of society. At the same time, the identity is negotiated by means of an engagement, in the form of intertextual dialoguing, with Nigeria‘s preceding literary generations. The most prominent arenas in which this new identity is negotiated include silenced domestic spaces, religo-cultural traditions, constructs of gender and nation, as well as in multicultural and hybrid communities. The investigation conducted in this thesis will, consequently, also focus on such areas of Nigerian life, as they are portrayed in the focal texts. Various theories of literary analysis (some of which specifically focus on Nigeria), Bildungsroman theory, theories of allegory, (imaginative) nation formation, feminism, gender and performativity, as well as theories of cultural identity and cultural exchanges, will form the critical and theoretical framework within which this investigation will be executed. Chapter One explores how Purple Hibiscus‘s protagonist, Kambili Achike, negotiates her gender identity and voice in order to constitute herself as an independent, self-authoring individual. Chapter Two, which focuses on Everything Good Will Come, investigates the dialectic relationship between Enitan Taiwo‘s national and personal identity, which inevitably leads to her quest to reconceive her gender identity, since national identity, as she finds out, is always an engendered construct. In its analysis of GraceLand, Chapter Three turns to the difficulties that Elvis Oke faces when he attempts to negotiate an alternative masculine identity within a rigid patriarchal system and between the cracks of a fraudulent African modernity.
AFRIKAANSE OPSOMMING: In die afgelope paar jaar was daar opwindende, oorspronklike ontwikkelinge in Nigeriese literatuur. Hierdie nuwe literatuurkorpus, wat gesamentlik bekend staan as die ―derde generasie, het onlangs internasionale erkenning ontvang. In hierdie opkomende literatuur, kry die soeke na 'n nuwe, kontemporêre identiteit ‘n sentrale fokus. Terselfdertyd reageer onlangse Nigeriese literêre werke met verskeie ontwikkelinge in die Negeriese nasie: Nigerië se huidige politieke en sosio-ekonomiese situasie, diverse vorme van kultuurverbastering asook 'n toenemende trans-nasionale bewustheid, om maar ‘n paar te noem. Drie 21ste eeuse romans – Chimamanda Nogzi Adichie se Purple Hibiscus (2004), Sefi Atta se Everything Good Will Come (2004) en Chris Abani se GraceLand (2005) – onthul hoe nuwe kanale van identiteidsonderhandeling en –vorming in verskeie kontemporêre Nigeriese situasies ondersoek word. Hierdie studie ondersoek die maniere waarop die Bildungsroman, die roman van selfontwikkeling, as ‗n medium dien waardeur hierdie nuwe identiteit geartikuleer word. Terselfdertyd sal hierdie studie ook worstel met die maniere waarin die artikulasie en soeke na hierdie nuwe identiteit die konvensies van die klassieke Bildungsroman genre hervorm, en daardeur 'n unieke en kontemporêre Nigeriese Bildungsroman vir die 21ste eeu vestig. Die identiteit wat ontwikkel deur die derde generasie is veelvlakkig en inklusief en staan teenoor die eksklusiewe, eenvormige identiteite wat in Nigeriese romans van die vorige twee generasies opgemerk word. Hierdie inklusiwiteit, sowel as die hibriede omgewings waarin hierdie identeite ontwikkel word, lei tot die vorming van identiteitslae. Die individu kom dus tot stand by die kruising, oorvleueling en botsing van verskillende metodes van selfvorming. Hierdie vorming van lae laat die individu toe, alhoewel nie sonder uitdagings nie, om 'n selfgevormde identiteit te hê wat nie noodwndig aan die eise van die gemeenskap voldoen nie. Terselfdertyd word hierdie identiteit onderhandel deur ‗n skakeling met Nigerië se voorafgaande literêre generasies in die vorm van intertekstuele dialoog. Die mees prominente omgewings waar hierdie nuwe identiteit onderhandel word, sluit stilgemaakte huishoudelike spasies, religieus-kulturele tradisies, konstrukte van gender en nasie, sowel as multi-kulturele en hibriede gemeenskappe in. Die ondersoek wat in hierdie tesis uitgevoer sal word, sal daarom ook fokus op hierdie areas van Nigeriese lewe, soos deur die fokale tekste voorgestel. Verskeie teorieë van literêre analise (sommige wat spesifiek op Nigerië fokus), Bildungsromanteorie, teorieë van allegorie, (denkbeeldige) nasievorming, feminisme, gender en performatiwiteit, sowel as teorieë van kultuuridentiteit en -uitruiling, vorm die kritiese en teoretiese raamwerk waarbinne hierdie ondersoek uitgevoer sal word. Hoofstuk een ondersoek hoe Purple Hibiscus se protagonist, Kambili Achike, haar genderidentiteit onderhandel en uitdrukking gee om haarself as onafhanklike, self-skeppende individu te vorm. Hoofstuk twee, wat fokus op Everything Good Will Come, ondersoek die dialektiese verhouding tussen Enitan Taiwo se nasionale en persoonlike identiteit, wat onvermydelik lei tot die herbedenking van haar genderidentiteit, aangesien nasionale identiteit, soos sy uitvind, altyd 'n gekweekte konstruk is. In sy analise van GraceLand, draai Hoofstuk drie om die moeilikhede wat Elvis Oke in die gesig staar wanneer hy probeer om ‘n alternatiewe manlike identiteit te onderhandel in 'n rigiede patriargale sisteem tussen krake van 'n bedrieglike Afrika-moderniteit.

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COSWOSK, JANDERSON ALBINO. "TRANSATLANTIC NARRATIVES: REFLECTIONS ON IDENTITY AND NATION IN TONI MORRISON S COMPAIXÃO A MERCY AND CHIMAMANDA NGOZIE ADICHIE S AMERICANAH." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30182@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente estudo promove um diálogo entre os romances Compaixão, de Toni Morrison, que narra o passado escravista na Virgínia, em um período da história norte-americana anterior à constituição dos Estados Unidos, e Americanah, de Chimamanda Ngozie Adichie, cuja narrativa encena os vários encontros e desdobramentos culturais a partir de movimentos migratórios por seus personagens. Busca-se, através desse diálogo, refletir sobre questões relativas a nação e identidade que emergem nessas narrativas de vivências diaspóricas. O recorte proposto privilegia como ponto de encontro das obras em foco o trânsito, por elas materializado, entre diferentes temporalidades da África e da América do Norte. O contato entre esses dois lados do Atlântico evidencia a estruturação de um sistema de trocas, que constitui o intenso fluxo de corpos, símbolos, mercadorias, provoca negociações e contatos múltiplos, rasura ou fortalece fronteiras. Pensar a figura do Atlântico enquanto local de encontro de Compaixão e Americanah é produzir um movimento para além de uma perspectiva identitária fundada nos limites dos Estados nacionais modernos e na negação da diferença. Em contraposição, o estudo investe no mapeamento de identidades múltiplas, construídas a partir de encontros e interações, sejam eles compulsórios, como o escravismo, ou sejam negociados, como os processos de imigração contemporâneos. Ao conferirmos maior ênfase nas rotas e não nas raízes culturais, evidenciamos os trânsitos como mecanismos que deslocam a identidade do plano nacionalista e territorial.
The following research promotes a dialogue between Toni Morrison s Compaixão A Mercy and Chimamanda Ngozie Adichie s Americanah in order to reflect on issues related to the modern nation-state and identity evoked by these diasporic narratives. The analysis has focused on the different temporalities between Africa and North America the novels create. The contact between these two sides of the Atlantic Ocean structures a system which involves cultural exchange, global flows of bodies, symbols, commodities, cultural negotiation processes, multiple contacts, weakening or strengthening borders. Considering the Atlantic Ocean as a meeting space for Compaixão A Mercy and Americanah helps us imagine identity beyond the nation-state homogeneity and map multiple identities constructed through compulsory or negotiated interactions, such as the ones provoked by the 17th century-North-American slavery trade and the ones caused by contemporary diasporas. Focusing on the routes rather than cultural roots, the analysis presents diasporic movements as mechanisms capable of shifting identity from national and territorial aspects.

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Soares, Natália Telega. "O feminismo africano e a escrita de Chimamanda Ngozi Adichie." Master's thesis, 2014. http://hdl.handle.net/10362/13589.

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Esta dissertação tem como objetivo analisar a problemática do pensamento de mulheres negras, afro-americanas e africanas, expressamente nas suas obras selecionadas para o efeito. Pretende-se aprofundar as questões relacionadas com a problemática do racismo e das práticas de exclusão levadas a cabo por feministas brancas ocidentais perante mulheres negras e denunciadas por intelectuais negras como bell hooks, Patricia Hill Collins, Audre Lorde, feministas pós-coloniais como Uma Narayan, Chandra Talpade Mohanty e Gayatri Chakravorty Spivak e africanas, nomeadamente Molara Ogundipe-Leslie, Oyeronke Oyewumi, Chikwenye Ogunyemi, etc. No âmbito deste trabalho, dar-se-á particular relevo à questão da voz de mulheres negras, no sentido da sua capacidade de denunciar as práticas discriminatórias por parte dos feminismos ocidentais que relegaram as mulheres negras à margem da vida cultural e histórica. Analisar-se-á a razão por detrás de distanciamento de feministas negras de alguns conceitos promovidos por feminismos ocidentais e explicar-se-á a importância da insistência de mulheres negras no seu direito à auto-nomeação enquanto ato político e simbólico. O ato que leva as mulheres negras a elaborar respostas mais adequadas à realidade e às necessidades das suas conterrâneas que não são, de maneira nenhuma, idênticas às verbalizadas pelas feministas no Ocidente. Nesta dissertação de mestrado, optou-se, principalmente, por uma perspetiva cultural (na sua parte dedicada à teoria feminista, por exemplo) de forma a enquadrar a problemática da mulher africana enquanto sujeito com voz. A parte baseada em obras literárias incluída na dissertação, que apresenta dois romances de autora nigeriana da nova geração, Chimamanda Ngozi Adichie, terá como objetivo fornecer um instrumento de análise mais prático dos problemas abordados na parte inicial.

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Ouma, Chrispher Ernest Werimo. "Journeying out of silenced familial spaces in Chimamanda Ngozi Adichie's Purple hibiscus." Thesis, 2008. http://hdl.handle.net/10539/5879.

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This study explores the silencing of familial spaces in Chimamanda Ngozi Adichie’s Purple Hibiscus. It probes into how the familial space is invested with religiosity: how ritual and norm structure and silence familial spaces and how transcendence from these spaces can be achieved through elements of laughter, music and sexuality. The study uses post-colonial theories, concepts of familial ideology and familial theory to read the text. The introductory chapter provides a politico-historical background of the text, then a literary historiography of how the familial trope has been used in African literature with special focus on Achebe. The chapter also outlines the theoretical framework of the study while anticipating the issues to be dealt with. Chapter two focuses on how the familial space is invested with religious rituals and how these silence the familial space. Chapter three examines how augmentation out of the silenced familial spaces works through elements of laughter, sexuality and music. Chapter four investigates the family as a portrait of the state and most significantly how these two institutions are portrayed to be in a complex relationship. The study’s conclusion is that the family can be used as an alternative site for discourses of marginality and can give a nuanced critique of the postcolony.

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Tlamková, Sabina. "Zobrazení ženských členek rodiny ve vybraných dílech Chimamandy Ngozi Adichie." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-344968.

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The aim of this thesis is to analyse the position of women in Nigerian family and to estimate the extent of their emancipation and/or dependence on men in Nigerian society, traditionally considered to be patriarchal. The analysis is based on the interpretation of the novels Purple Hibiscus and Half of a Yellow Sun and the short story collection The Thing around Your Neck, written by Chimamanda Ngozi Adichie, a prominent contemporary Nigerian author. The theoretical part focuses on political, social and economic representations of women in pre- colonial Nigeria and in colonial and modern, post-colonial Nigeria. An antidote to the stereotypical depiction of women in African literature, Adichie's work typically presents female characters who are educated, independent and emancipated. This stands to challenge the image of Nigerian women who are dominated and controlled by men.

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Callegari, Lara da Rocha. "IDENTIDADES PLURAIS e EM TRÂNSITO NO ROMANCE AMERICANAH DE CHIMAMANDA NGOZI ADICHIE: INTERSECÇÕES DE GÊNERO E RAÇA." Master's thesis, 2018. http://hdl.handle.net/10316/81908.

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Dissertação de Mestrado em Estudos de Cultura, Literatura e Linguas Modernas apresentada à Faculdade de Letras
O problema das identidades vem sendo peça central de análises de diversas áreas do saber, dentre elas os estudos sociais e a literatura. No sentido de contribuir para uma justiça cognitiva e social, torna-se indispensável que tais análises sejam feitas de perspectivas pluralizadas para que identidades subalternizadas desafiem as relações de poder estruturais e ganhem voz e vez no meio social, acadêmico e literário. Para tanto, a presente pesquisa apresenta uma análise do romance Americanah (2014) da autora nigeriana Chimamanda Ngozi Adichie, focada no modo de construção ficcional das identidades de raça e gênero, em especial das mulheres negras africanas. Para além disso, a análise identifica a maneira que essas identidades são alteradas pelo processo de migração e, dessa maneira, surgem novas identidades à medida que o sujeito é interpelado por diferentes espaços. Verificou-se que o romance em análise traz personagens que vivenciam as categorias de raça, gênero e a condição de imigrante de uma maneira interseccionalizada que mostra como as relações de poder que oprimem as mulheres negras operam e subjugam essas mulheres através de histórias únicas que reforçam estereótipos, bem como as formas múltiplas como as identidades se tornam resistentes a partir de interações, negociações e deslocamentos complexos. O romance de Adichie surge como uma alternativa a visão do Norte imperialista eurocentrado que contrói uma visão limitada do Outro. A narrativa da autora nigeriana emancipa e dá voz a uma pluralidade de identidades que comprovam que as identidades não podem ser analisadas a partir de uma perspectiva homogeneizada e (re)constrói o imaginário engessado das mulheres negras africanas diaspóricas como mulheres que narram suas próprias histórias e conquistam autonomia no privado e no público.
The identities’ issue has been central in different areas of knowledge, including social studies and literature. In the sense of contributing for social and cognitive justice, it is indispensable that analysis on this subject matter are made of pluralized perspectives, so the subaltern identities can challenge structural power relations and gain voice and their own turn in the social, academic and literary environment. Therefore, this research presents an analysis of the novel Americanah (2014) by the Nigerian author Chimamanda Ngozi Adichie, focussed on the fictional modes of construction of the identities of race and gender particularly of black African women. In addition to this, the analysis identifies the way these identities are changed by the migration process and, in this manner, new identities emerge as the subject is approached by different spaces. The novel in question presents characters that live the categories of race, gender and the immigrant status in an intersectional way, which shows on the one hand how the power relations oppress, and subjugate black women through single stories that reinforce stereotypes, and on the other hand the multiple ways these identities became resistant after complex interactions, negotiations and displacements. Adichie’s novel emerges as an alternative to the view of the imperialist, Eurocentric North that builds a limited representation of the Other. The narrative of the Nigerian author frees and gives voice to a plurality of identities that prove that they cannot be analyzed through a homogenized perspective and (re)builds the limited representation of diasporic African black women as women that tell their own stories and conquer autonomy in the private and public spaces.

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Coffey, Meredith Armstrong. ""She is waiting" : political allegory and the specter of secession in Chimamanda Ngozi Adichie's Half of a yellow sun." Thesis, 2012. http://hdl.handle.net/2152/26352.

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Though the Nigerian-Biafran War has been the subject of numerous literary and other artistic representations in the four decades since its conclusion, Nigerian author Chimamanda Ngozi Adichie’s 2006 novel Half of a Yellow Sun has recently received tremendous international attention for its treatment of the 1967-1970 conflict. Contrary to the assertions of many critics, the novel’s complex representation of the war functions as much more than a setting for a series of family dramas at the foreground. Providing a counterargument to such readings, which emphasize the personal over the political in Half of a Yellow Sun, this paper will propose and trace a political allegory legible within the characters’ personal relationships and historical circumstances. Specifically, I will argue that the relationship between two protagonists, the twins Olanna and Kainene, aligns with the relationship between (Northern) Nigeria and the Eastern Nigeria, known as Biafra between 1967 and 1970, during its attempt to secede. In the way that Kainene grows emotionally distant from Olanna, eventually stops speaking to her, and suddenly disappears, so Eastern Nigeria increasingly clashed with Northern Nigeria during the early 1960s, seceded as the Republic of Biafra in 1967, and eventually “disappeared” at the end of the war in 1970, as it was absorbed back into Nigeria. Rather than indicating a sense of finality, however, Adichie’s text refuses closure in ways that ultimately suggest an alternative both to the notion that the novel has an apolitical, purely tragic ending, and to dominant narratives about the Biafran secession’s “inevitable” failure. This reading thus intervenes in critical conversations about Half of a Yellow Sun, the Biafran state, and secession and self-determination throughout Africa. If Kainene’s disappearance does not only testify to the tragedies of war, and if her character allegorically corresponds to Biafra, then what political possibilities might her disappearance allow? Does Biafra—and in turn, the possibility of secession—remain at large too? Far from the prevalent scholarly and political rhetoric that relegates Biafra to a narrow three-year time frame, Adichie’s novel conceives of a Biafran existence beyond the pages of some finalized history.
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38

McGuigan, Fiona. "Gendered geographies and the politics of place : a comparative reading of the novels of Mariama Bâ and Chimamanda Ngozi Adichie." Thesis, 2014. http://hdl.handle.net/10413/11226.

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This thesis is concerned with inscriptions of gender and space in the novels of two African women writers, Mariama Bâ and Chimamanda Ngozi Adichie, particularly Bâ’s So Long a Letter (1981) and Scarlet Song (1986) and Adichie’s Purple Hibiscus (2004) and Half of a Yellow Sun (2006). The exploration of representations of gendered identity is thus integrated with an awareness of space/place. By exploring the demarcation and enunciation of space within my chosen texts, I hope to provide new perspectives on the question of gendered identities and relations. The theorizing of gender identities and relations thus gains a new orientation from its application in relation to the theorizing of space and spatiality. As many theorists have argued, space is an important aspect to consider because it is not a neutral site: it becomes invested with meanings and encodes particular values and relations of power which can be contested and negotiated. This is particularly evident when looking at questions of gender identity, roles and relations. ‘Geographies of gender’ are established not only in the coding of spaces as ‘masculine’ and feminine’ but also in the kinds of sociality which they encourage and the power-relations they encode. If space is central to masculinist power, it is also important in the development of feminine resistance. Drawing on a range of theorists, I endeavour to pursue a gendered analysis of space/place through a reading of particular locations (the home, the street, the village) as expressive of power relations, gender identities and roles. I also consider how space/place is differently experienced and inhabited by men and women as well as how dominant constructions of space/place, which are also invested with meaning and power relations, come to be negotiated or contested. In all four novels explored in this thesis, the home is revealed as a dominant site of inscription, a space which tends to reflect and reinforce dominant social identities and roles. In this sense, the home is often figured as a site of patriarchal and gendered oppression, a central domain in which normative definitions of gender are established and reinforced. What is also clear, however, is that way in which the home also becomes a site for the contestation and renegotiation of gender identities and roles, a place where conventional identities can be challenged and new identities explored. In this sense, the home is revealed as a major site of contestation in which the tensions between different experiences and interpretations of space based on contrasting cultural definitions of power relations, gender identities and roles are played out. If the ordering of space is an important means of securing dominant gender relations, it also provides the means for negotiation and resistance. This is reflected not only the alternative ii examples of home explored in these novels but also in liberating spaces such as the school, the beach and the university. In the destabilisation and destruction of the home, the links between self and place becomes apparent as new identities are formed and conventional roles are redefined.

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Ting-lungLin and 林廷龍. "Will the Sun Also Rise?: Trauma, Reincarnation, and the Hopeless Hope in Chimamanda Ngozi Adichie’s Half of a Yellow Sun." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/52ppdf.

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碩士
國立成功大學
外國語文學系
106
In both reality and the fiction, Half of a Yellow Sun, since 1966, Nigeria has experienced a number of political earthquakes which eventually result in the independence of Biafra and the sanguinary Nigeria-Biafra War in 1967. Most Biafrans, the civilians in particular, are forced to confront the disappearance and demise of their families and friends, the loss of their properties and lives, the paucity of food and water, and so forth. The thesis will focus on how Olanna, the female Christian protagonist, eventually learns to coexist with her psychological trauma and regain her political voice. In the first chapter, I will analyze Olanna’s physical and psychological response to the pogrom she witnesses in Kano in 1966. I will evidence that, despite her recovery from her state of freeze, or her somatic dissociation, Olanna continues suffering from her ongoing traumatic memories because she still fails to internalize them. After the Nigerian Civil War begins, Olanna is even deprived of her political voice and cannot but accept the nonchalance of the whole world, the Nigerian government, and Biafran politicians and soldiers. In the second chapter, I will argue that, after the end of the war in 1970, Olanna’s insistence on searching for her missing sister, Kainene, and her turning to the traditional Igbo belief in reincarnation prompt her to voice for herself and work through her traumatic memories. In addition, to undergo the process of reincarnation, Olanna should pass on her memories of Kainene to those whom she cares about. I will thus discuss that, with Olanna’s storytelling, Adichie is perchance urging all her (Nigerian) readers to remember the lessons taught by history lest they launch another war as internecine as the Nigeria-Biafra War.

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Massa, Ana Sofia Roias. "To bloom in America: Raising Black Awareness Chimamanda Ngozi Adichie´s Americanah (2013) and NoViolet Bulawayo´s We Need Names (2013)." Master's thesis, 2021. http://hdl.handle.net/10362/135938.

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Esta dissertação visa analisar o neologismo Afropolitanismo e o modo como este é desafiado por obras de literatura africana contemporânea através da desconstrução do conceito de “Africanos do mundo”, popularizado por Taiye Selasi, e através da reformulação das suas características. Assim, os romances Americanah (2013) de Chimamanda Ngozi Adichie e We Need New Names (2013) de NoViolet Bulawayo foram as obras escolhidas para esta análise, uma vez que são retratos ficcionais de mobilidade contemporânea Africana que apresentam diferentes perspetivas deste conceito. Ao analisar o percurso de vida das personagens, Ifemelu e Darling, este estudo pretende apresentar outras interpretações do Afropolitanismo que são mais adequadas para descrever os romances em questão. Esta análise irá então tentar compreender não só como é que a identidade das protagonistas foi formada ao fazerem parte da diáspora Africana, mas também como é que um choque cultural influenciou o seu processo de desenvolvimento.
This dissertation aims to analyze the neologism Afropolitanism and how it is challenged by contemporary African novels, deconstructing Taiye Selasi’s popularized concept of “Africans of the world” and reformulating its characteristics. Therefore, Chimamanda Ngozi Adichie’s Americanah (2013) and NoViolet Bulawayo’s We Need New Names (2013) were the novels chosen for this analysis, since both are fictional portraits of African contemporary mobility which present different perspectives of this concept. Through an analysis of the characters’, Ifemelu and Darling, life journey, this study will present other interpretations of Afropolitanism that are considered more suitable to describe the novels in question. This analysis will try to understand not only how the protagonists’ identity was constructed as being part of the African diaspora but also how a cultural shock had an impact on their process of maturation.

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Akpome, Aghogho. "Narrating a new nationalism : exploring the ideological and stylistic influence of Chinua Achebe’s Anthills of the Savannah (1987) on Chimamanda Ngozi Adichie’s Half of a Yellow Sun (2006)." Thesis, 2012. http://hdl.handle.net/10210/5161.

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M.A.
The Nigeria-Biafra War has elicited a corpus of literature which thematises the hydra-headed problematic of nationhood that embodies ethnicity, politics and history. A recent contribution is Chimamanda Ngozi Adichie’s award-winning Half of a Yellow Sun (henceforth, Yellow Sun) which reveals interesting affinities between Adichie and Chinua Achebe, and suggests the influence of Achebe on her. The centrality of Biafra to these writers (both are of Igbo or ‘Biafran’ extraction) foregrounds concerns about the links between literary production, identity politics and the narrative of the nation. At a time marked by the resurgence of sub-nationalist notions in Nigeria, it becomes fitting to review the growing ‘Biafra discourse’ as enunciated in recent Nigerian fiction. It is argued that in Yellow Sun and Achebe's most recent novel Anthills of the Savannah (henceforth, Anthills) both writers espouse notions of nationhood which privilege the ethnic group mainly through a valorisation of the Igbo people of south-eastern Nigeria who constituted the defunct Biafra republic. This dissertation examines how both novels depict difference and deploy historical revision to fetishise ethnic identity in their enunciation of ethno-nationalism. It also explores the degree to which Yellow Sun may reflect the influence of Anthills, both ideologically and stylistically. In this regard, the study interrogates the peculiar narratological features of both novels. The predominant research method applied is close reading, and the theoretical framework incorporates theories of narratology, influence and intertextuality as well as postcolonial notions of nationalism, historicisation, difference and representation. The study draws significantly on the scholarship of Frederic Jameson, Mieke Bal, Harold Bloom and Imre Szeman among others. Keywords: narratology, nationalism, historicisation, representation, ethnicity, difference, other/otherness/othering, representation, intertextuality, Nigeria, Biafra, civil war.

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Temitayo, Adeyelure Omotola. "Transgressive space and body in Chimamanda Adichie’s Americanah and Trevor Noah’s Born a Crime." Diss., 2021. http://hdl.handle.net/10500/27458.

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Text in English with abstracts and keywords in English, Afrikaans and Zulu
Beyond the African boundaries, the black body is marked with an othered identity that often leaves its bearer open to discrimination. Being black is considered a transgression because, presumably, it constitutes deviance from a particular skin pigmentation, spatial norm and cultural practice. This dissertation examines the depiction of people of colour, particularly blacks, as transgressive bodies and invaders of space. From a postcolonial perspective, it investigates the racial implications of blackness by reason of migration. This study draws on a critical analysis of Chimamanda Ngozi Adichie’s Americanah (2013) and Trevor Noah’s Born a Crime (2016) to investigate the intersection of identity, race and spatial zones as thematic concerns in both texts. I contend that despite the fact that race is a social construct, it continually has an impact on the individual living of blacks in the space they inhabit or where they exist. They are burdened by the negativities generated by their colour, consequently perceiving themselves as deviants from the norm. Unlike Adichie’s other novels, the theme of migration is more profound in Americanah to reflect the intense consequences of race for African migrants in the western world. Therefore, I seek to establish that the stereotyping of Africans owing to their racial and cultural differences forces them to alter their identity in order to be recognised and accepted. In the same regard, the study projects Trevor Noah’s holistic representation of displacement both within self and community. More insightful is the writer’s engagement of body politics as a propeller for socio-economic issues. These issues explored in both texts ultimately present a (re)imagining of people of colour within the othered zones.
Buite die Afrikagrense word die swart liggaam gemerk met 'n gemarginaliseerde (“anderste”) identiteit wat die draer dikwels ooplaat vir diskriminasie. Swartwees word as 'n oortreding beskou, want dit is vermoedelik 'n afwyking van 'n bepaalde velpigmentasie, ruimtelike norm en kulturele praktyk. Hierdie verhandeling ondersoek die uitbeelding van mense van kleur, veral swart mense, as oortredende liggame en indringers van die ruimte. Vanuit 'n postkoloniale perspektief ondersoek dit die rasse-implikasies van swartheid as gevolg van migrasie. Hierdie studie neem as uitgangspunt die kritiese analise van Chimamanda Ngozi Adichie se Americanah (2013) en Trevor Noah se Born a Crime (2016) om die interseksie van identiteit, ras en ruimtelike sones as tematiek in albei tekste te ondersoek. Ek beweer dat, ondanks die feit dat ras 'n sosiale konstruk is, dit voortdurend 'n impak het op die individuele leefwyse van swart mense in die ruimte waarin hulle woon of waar hulle bestaan. Gevolglik word hulle belemmer deur negatiewe aspekte wat deur hul kleur gegenereer word, en hulself gevolglik as afwykers van die norm beskou. Anders as haar ander romans, is Adichie se migrasieprobleme meer diepgaande in Americanah om die intense gevolge van rassekwessies vir Afrika-migrante in die Westerse wêreld te weerspieël. Daarom wil ek vasstel dat die stereotipering van Afrikane weens hul rasse- en kulturele verskille hulle dwing om hul identiteit te verander om erken en aanvaar te word. In dieselfde verband projekteer die studie Trevor Noah se holistiese voorstelling van verplasing binne die self en die gemeenskap. Meer insiggewend is die skrywer se betrokkenheid by liggaamspolitiek as 'n voorstuwer vir sosio-ekonomiese kwessies. Hierdie kwessies, wat in albei tekste ondersoek word, bied uiteindelik 'n (her)verbeelding van mense van kleur binne die “ander” sones.
Nangaphandle kwemingcele ye-Afrika, imizimba yabantu abamnyama imakwe ngobuzazisi babanye, lokhu okuvama ukushiya lowo walowo mzimba omnyama esesimweni sokubandlululwa. Ukuba mnyama kuthathwa njengento eyisono neyeqe umngcele omukelekile ngoba, kuvanyiswe ukuthathwa njengokwehlukile kwibala elithile lesikhumba, indawo evamile kanye nezinkambiso zamasiko. Le dissertation ihlola ukuthathwa kwabantu abanebala, ikakhulukazi elimnyama, njengemizimba ewukweqa okuhle nokwamukelekile kanye neyabahlasela indawo. Ukusuka kwimibono yenkathi engemuva kobukoloni, iphenya ngemiphumela yombono webala elimnyama ngenxa yokuya kwamanye amazwe. Ucwaningo luthathela kuhlaziyo olunzulu lwemibhalo kaChinamanda Ngozi Adichie ye-Americanah (2013) kanye ne-Trevor Noah’s Born a Crime (2016) ukuphenya ngokuxhumana kobuzazisi, ukubuka izinto ngeso lebala kanye nezindawo njengezinto eziyizihloko zemibhalo. Ngibeka elokuthi noma udaba lwebala kuyinto eyenziwe ngabantu, kodwa inomphumela kumuntu ophila njengomuntu omnyama, ohlala endaweni ahlala kuyo noma lapho akhona. Ngenxa yalokho-ke, bathwele umthwalo omubi ngenxa yebala labo, ngalokho bazibona njengabahlukile kokujwayelekile nokufanele. Ngokwehluka namanye amanoveli, ukukhathazeka ngokuya kwamanye amazwe kubonakala kakhulu kwi-Americanah ukubheka kanzulu ngemiphumela ejulile yokubuka izinto ngokwebala kubantu ababuya eAfrika abaya kumazwe asentshonalanga. Ngakho ke, ngifuna ukuqaphela indlela abantu abangama-Afrika ababonwa ngayo ngendlela ethile embi nemi ndawonye (stereotyping) ngenxa yomehluko wabo ngokubona izinto ngokwebala kanye nomehluko ngokwezamasiko, ukushintsha ubuzazi babo ukuze bamukelwe nokumukeleka. Ngale ndlela, ucwaningo lubhekisa kwindlela ephelele kaTrevor Noah, yokuzibona eqhelilee nokwehluka ngobuyena ngaphakathi kuye kanye nasemphakathini. Ngokubona izinto ngeso elijulile ngokubheka ezepolitiki kombhali njengesisunduzi kwizinto ezibhekene nabantu kanye nezomnotho. Lezi zinto zicwaninga ngokombhalo kanye nokubeka kabusha ngombono nendlela entsha abantu bebala, emkhakheni wabanye.
Afrikaans and Theory of Literature
M.A. (Theory of Literature)

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Khazanovych, Tetyana. "Otázka imigrace v díle Chimamandy Ngozi Adichie Americanah a Chris Cleava The Other Hand." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-343217.

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The aim of this thesis is to explore immigration from Nigeria to the United States and United Kingdom in contemporary Nigerian and English literature by comparing two novels, Chimamanda Ngozi Adichie's Americanah and Chris Cleave's The Other Hand. The authors' authentic experience is described and their opinion on the pressing issues connected with immigration, such as reasons for immigration and psychological trauma associated with it are explored.

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44

Adeyelure, Omotola Temitayo. "Transgressive space and body in Chimamanda Adichie’s Americanah and Trevor Noah’s Born a crime." Diss., 2001. http://hdl.handle.net/10500/27457.

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Bibliography: leaves 95-104
Text in English with summaries in English, isiZulu and Afrikaans
Beyond the African boundaries, the black body is marked with an othered identity that often leaves its bearer open to discrimination. Being black is considered a transgression because, presumably, it constitutes deviance from a particular skin pigmentation, spatial norm and cultural practice. This dissertation examines the depiction of people of colour, particularly blacks, as transgressive bodies and invaders of space. From a postcolonial perspective, it investigates the racial implications of blackness by reason of migration. This study draws on a critical analysis of Chimamanda Ngozi Adichie’s Americanah (2013) and Trevor Noah’s Born a Crime (2016) to investigate the intersection of identity, race and spatial zones as thematic concerns in both texts. I contend that despite the fact that race is a social construct, it continually has an impact on the individual living of blacks in the space they inhabit or where they exist. They are burdened by the negativities generated by their colour, consequently perceiving themselves as deviants from the norm. Unlike Adichie’s other novels, the theme of migration is more profound in Americanah to reflect the intense consequences of race for African migrants in the western world. Therefore, I seek to establish that the stereotyping of Africans owing to their racial and cultural differences forces them to alter their identity in order to be recognised and accepted. In the same regard, the study projects Trevor Noah’s holistic representation of displacement both within self and community. More insightful is the writer’s engagement of body politics as a propeller for socio-economic issues. These issues explored in both texts ultimately present a (re)imagining of people of colour within the othered zones.
Buite die Afrikagrense word die swart liggaam gemerk met 'n gemarginaliseerde (“anderste”) identiteit wat die draer dikwels ooplaat vir diskriminasie. Swartwees word as 'n oortreding beskou, want dit is vermoedelik 'n afwyking van 'n bepaalde velpigmentasie, ruimtelike norm en kulturele praktyk. Hierdie verhandeling ondersoek die uitbeelding van mense van kleur, veral swart mense, as oortredende liggame en indringers van die ruimte. Vanuit 'n postkoloniale perspektief ondersoek dit die rasse-implikasies van swartheid as gevolg van migrasie. Hierdie studie neem as uitgangspunt die kritiese analise van Chimamanda Ngozi Adichie se Americanah (2013) en Trevor Noah se Born a Crime (2016) om die interseksie van identiteit, ras en ruimtelike sones as tematiek in albei tekste te ondersoek. Ek beweer dat, ondanks die feit dat ras 'n sosiale konstruk is, dit voortdurend 'n impak het op die individuele leefwyse van swart mense in die ruimte waarin hulle woon of waar hulle bestaan. Gevolglik word hulle belemmer deur negatiewe aspekte wat deur hul kleur gegenereer word, en hulself gevolglik as afwykers van die norm beskou. Anders as haar ander romans, is Adichie se migrasieprobleme meer diepgaande in Americanah om die intense gevolge van rassekwessies vir Afrika-migrante in die Westerse wêreld te weerspieël. Daarom wil ek vasstel dat die stereotipering van Afrikane weens hul rasse- en kulturele verskille hulle dwing om hul identiteit te verander om erken en aanvaar te word. In dieselfde verband projekteer die studie Trevor Noah se holistiese voorstelling van verplasing binne die self en die gemeenskap. Meer insiggewend is die skrywer se betrokkenheid by liggaamspolitiek as 'n voorstuwer vir sosio-ekonomiese kwessies. Hierdie kwessies, wat in albei tekste ondersoek word, bied uiteindelik 'n (her)verbeelding van mense van kleur binne die “ander” sones.
Nangaphandle kwemingcele ye-Afrika, imizimba yabantu abamnyama imakwe ngobuzazisi babanye, lokhu okuvama ukushiya lowo walowo mzimba omnyama esesimweni sokubandlululwa. Ukuba mnyama kuthathwa njengento eyisono neyeqe umngcele omukelekile ngoba, kuvanyiswe ukuthathwa njengokwehlukile kwibala elithile lesikhumba, indawo evamile kanye nezinkambiso zamasiko. Le dissertation ihlola ukuthathwa kwabantu abanebala, ikakhulukazi elimnyama, njengemizimba ewukweqa okuhle nokwamukelekile kanye neyabahlasela indawo. Ukusuka kwimibono yenkathi engemuva kobukoloni, iphenya ngemiphumela yombono webala elimnyama ngenxa yokuya kwamanye amazwe. Ucwaningo luthathela kuhlaziyo olunzulu lwemibhalo kaChinamanda Ngozi Adichie ye-Americanah (2013) kanye ne-Trevor Noah’s Born a Crime (2016) ukuphenya ngokuxhumana kobuzazisi, ukubuka izinto ngeso lebala kanye nezindawo njengezinto eziyizihloko zemibhalo. Ngibeka elokuthi noma udaba lwebala kuyinto eyenziwe ngabantu, kodwa inomphumela kumuntu ophila njengomuntu omnyama, ohlala endaweni ahlala kuyo noma lapho akhona. Ngenxa yalokho-ke, bathwele umthwalo omubi ngenxa yebala labo, ngalokho bazibona njengabahlukile kokujwayelekile nokufanele. Ngokwehluka namanye amanoveli, ukukhathazeka ngokuya kwamanye amazwe kubonakala kakhulu kwi-Americanah ukubheka kanzulu ngemiphumela ejulile yokubuka izinto ngokwebala kubantu ababuya eAfrika abaya kumazwe asentshonalanga. Ngakho ke, ngifuna ukuqaphela indlela abantu abangama-Afrika ababonwa ngayo ngendlela ethile embi nemi ndawonye (stereotyping) ngenxa yomehluko wabo ngokubona izinto ngokwebala kanye nomehluko ngokwezamasiko, ukushintsha ubuzazi babo ukuze bamukelwe nokumukeleka. Ngale ndlela, ucwaningo lubhekisa kwindlela ephelele kaTrevor Noah, yokuzibona eqhelilee nokwehluka ngobuyena ngaphakathi kuye kanye nasemphakathini. Ngokubona izinto ngeso elijulile ngokubheka ezepolitiki kombhali njengesisunduzi kwizinto ezibhekene nabantu kanye nezomnotho. Lezi zinto zicwaninga ngokombhalo kanye nokubeka kabusha ngombono nendlela entsha abantu bebala, emkhakheni wabanye.
Afrikaans and Theory of Literature
M.A. (Theory of Literature)

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Dissertations / Theses on the topic 'Chimamanda Ngozi'

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