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Journal articles on the topic 'Chimamanda Ngozi'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Verissimo, Jumoke. "Conversations with Chimamanda Ngozi Adichie." Journal of the African Literature Association 15, no. 2 (February 1, 2021): 321–22. http://dx.doi.org/10.1080/21674736.2021.1875605.

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2

KARA, Gökçen. "RACISM IN CHIMAMANDA NGOZI ADICHIE'S AMERICANAH." JOURNAL OF ACADEMIC SOCIAL RESOURCES 6, no. 23 (January 1, 2021): 315–20. http://dx.doi.org/10.31569/asrjournal.188.

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3

Akongo, Louis Marain Mokoko, and Ngassaki Basile Marius. "Characters in Chimamanda Ngozi Adichie’s Americanah." South Asian Research Journal of Arts, Language and Literature 4, no. 1 (January 28, 2022): 1–9. http://dx.doi.org/10.36346/sarjall.2022.v04i01.001.

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In this article, the main purpose has been the characterization of characters in the Nigerian author Chimamanda Ngozi Adichie’s Americanah. To carry out the task, the research has been conducted through the lenses of the deconstuction approach. Through the completion of the task, the characters have been divided into three groups namely major characters, the minor characters, and other characters. At the end of the investigation, it has been discovered there are two major characters in the novel. As for minor characters there are two characters as well. When it comes to other characters, although in this article their number has shortened to two characters, it should be mentioned that there are more characters who should belong to this last group of characters. This short number of characters belonging to other characters has been due to the constraint of the article size.

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4

Gandhi, S. P. Jenifer. "Hegemony in Chimamanda Ngozi Adichies’s “Apollo”." SMART MOVES JOURNAL IJELLH 8, no. 7 (July 28, 2020): 247–54. http://dx.doi.org/10.24113/ijellh.v8i7.10683.

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This paper tries to examine the operation and influence of hegemony in Adichie’s “Apollo”. Hegemony is closely linked with oppression of any kind. In “Apollo” the influence of hegemony is notable as the characters are affected by it invisibly and the characters are unaware of their oppressed/influenced state. As the characters are from Nigeria, a former colony, the aspects of colonialism and neo-colonialism are linked in the analysis of hegemony in this novel. The modes through which hegemony affects the characters are also discussed in this paper.

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5

Tunca, Daria. "A Companion to Chimamanda Ngozi Adichie." Journal of Postcolonial Writing 55, no. 1 (January 2, 2019): 144–45. http://dx.doi.org/10.1080/17449855.2019.1572486.

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6

De Dios Herrero, Mariana. "Chimamanda Ngozi Adichie: claves para ser feministas." La Manzana de la Discordia 12, no. 2 (February 28, 2018): 107. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v12i2.6235.

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7

Alix, Florian. "Chimamanda Ngozi Adichie. Autour de ton cou." Afrique contemporaine 246, no. 2 (2013): 176. http://dx.doi.org/10.3917/afco.246.0176.

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8

Dawoor, Yagnishsing. "Notes on Grief by Chimamanda Ngozi Adichie." World Literature Today 96, no. 1 (2022): 70. http://dx.doi.org/10.1353/wlt.2022.0039.

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9

Campos Gomides, Juliana. "Experiência em análise." Faces de Clio 8, no. 15 (May 30, 2022): 202–7. http://dx.doi.org/10.34019/2359-4489.2022.v8.34647.

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10

Oliveira, Leide Daiane De Almeida, and Naylane Araújo Matos. "ADICHIE, Chimamanda Ngozi. Hibisco roxo. Tradução de Julia Romeu. São Paulo: Companhia das Letras, 2011, 324 p." Cadernos de Tradução 38, no. 3 (September 12, 2018): 477–86. http://dx.doi.org/10.5007/2175-7968.2018v38n3p477.

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11

Tunca, Daria. "Ideology in Chimamanda Ngozi Adichie’s Purple Hibiscus (2003)." English Text Construction 2, no. 1 (March 24, 2009): 121–31. http://dx.doi.org/10.1075/etc.2.1.07tun.

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This article focuses on the first novel by Nigerian writer Chimamanda Ngozi Adichie, Purple Hibiscus (2003). It examines how religious prejudice is encoded in the account of the book’s autodiegetic narrator, a fifteen-year-old girl whose father is a violent, extremist Igbo Catholic. Based on a close reading of the text, the essay argues that an analysis of the novel’s use of speech and thought presentation may contribute to the assessment of the main character’s evolving ideological stance. It is suggested that the resulting appraisal of the narrator’s development provides key insights into the interpretation of the book.

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12

Behrmann, Erika M. "Adichie, Chimamanda Ngozi. “We Should All Be Feminists.”." Women's Studies in Communication 40, no. 3 (July 3, 2017): 315–16. http://dx.doi.org/10.1080/07491409.2017.1334456.

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13

Dawson, Emma. "The Thing around Your Neck by Chimamanda Ngozi Adichie." World Literature Today 83, no. 5 (2009): 61–62. http://dx.doi.org/10.1353/wlt.2009.0149.

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14

Calheiro, Ineildes, and Eduardo Oliveira. "CHIMAMANDA NGOZI ADICHIE - UM MANIFESTO PARA EDUCAR CRIANÇAS FEMINISTAS." Poiésis - Revista do Programa de Pós-Graduação em Educação 12, no. 22 (December 19, 2018): 434. http://dx.doi.org/10.19177/prppge.v12e222018434-439.

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Esse texto em forma de Resenha, trata de apresentar Chimamanda Adichie, autora do best-seller internacional Americanah, é feminista, negra, nigeriana nascida em Enugu, com obras publicadas desde 2008. Vive entre a Nígéria e os Estados Unidos devido a uma bolsa de estudos recebida pela MacArthur Foundation. Neste manifesto contendo quinze sugestões para criar filhos na perspectiva feminista, a autora adentra ao tema igualdade de gênero.

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15

Wallace, Cynthia R. "Chimamanda Ngozi Adichie'sPurple Hibiscusand the Paradoxes of Postcolonial Redemption." Christianity & Literature 61, no. 3 (June 2012): 465–83. http://dx.doi.org/10.1177/014833311206100311.

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16

Lecznar, Matthew. "Texts, talks and tailoring: Chimamanda Ngozi Adichie’s fashion politics." Celebrity Studies 8, no. 1 (January 2, 2017): 167–71. http://dx.doi.org/10.1080/19392397.2016.1275324.

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17

Mokoko Akongo, Louis Marain. "Who Is a Feminist between Flora Nwapa and Chimamanda Ngozi Adichie?" International Journal of Social Work 9, no. 2 (January 5, 2023): 42. http://dx.doi.org/10.5296/ijsw.v9i2.20656.

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Through this article, the main purpose has been to discover who is a feminist between Flora Nwapa and Chimamanda Ngozi Adichie. To carry out the research, life of the main character of each author’s novel has been scrutinized. Consequently when it comes to Flora Nwapa, as Amaka is the main character of her novel entitled One is Enough, Amaka’s life has been under scrutiny. As for Chimamanda Ngozi Adichie, life of Olanna, who is the main character of her novel: Half of a Yellow Sun, has been investigated as well. The analysis has been conducted through lenses of two literary approaches namely Feminism and Womanism.At the end of the analysis it has been brought to light that Flora Nwapa is a feminist because Amaka has a feminist behaviour. As a matter of fact, Amaka has not tolerated any mistreatments from her husband as well as her mother-in-law. Apart from what has been mentioned above, she has beaten her husband back when he tried to beat her. She has divorced Obiora in order to go to Lagos in search for a better life. In Lagos, Amaka has also refused remarrying a priest called Mclaid, the father of her twin boys. Unlike Flora Nwapa, Chimamanda Ngozi Adichie has been labelled a womanist because her character called Olanna has been tolerant to her mother-in-law as well as her husband regardless the abuse has undergone in her marriage. In fact, she has forgiven her husband although he has had a child by another woman brought to him from the village by his mother. Olanna has not reacted against the insults she has suffered from her mother-in-law.

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18

Carneiro, Tom Jones Da Silva. "Chimamanda Adichie: Sejamos todos feministas." Cadernos de Tradução 37, no. 2 (May 10, 2017): 318. http://dx.doi.org/10.5007/2175-7968.2017v37n2p318.

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http://dx.doi.org/10.5007/2175-7968.2017v37n2p318Chimamanda Ngozi Adichie, escritora nigeriana, conhecida por seus textos feministas, se inscreve num feminismo que trava uma luta contra um preconceito orgânico que entre outras coisas, promove o apagamento da mulher como pessoa na sociedade. Ela assume o papel da alteridade ao dar vida a personagens diferentes de si, mas ao mesmo tempo iguais a ela por serem mulheres. Em seu discurso We should all be feminists para o canal TEDEux, Adichie, a partir de história de sua vida, traz reflexões sobre o que é ser mulher na Nigéria e no mundo contemporâneo. Esse mesmo olhar é delicadamente traduzido por Chritiane Baum como Sejamos todos feministas.

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19

Diabah, Grace. "Masculinity as a ‘hard small cage’? Reflections from Chimamanda Adichie’s We should all be feminists." Legon Journal of the Humanities 33, no. 1 (September 20, 2022): 39–62. http://dx.doi.org/10.4314/ljh.v33i1.2.

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With data from YouTube, this paper examines some masculinity issues raised by Chimamanda Ngozi Adichie in her TEDx talk ‘We should all be feminists’ and some selected interviews. She problematizes the masculine ideal of suppressing emotions and acting tough and uses them to gauge how masculinity can be described as a ‘cage’. To exemplify how this ‘cage’ might look like in reality, I draw on evidence from the literature on masculinity and men’s health as well as data from an unpublished document on discourses of fear and anxiety among male COVID-19 survivors in Ghana. Using the concept of hegemonic masculinity, I argue that the plethora of evidence in the literature suggest that (hegemonic) masculine norms indeed constrain men in ways that may have dire consequences, not only for their ego, but also for their health; hence, Chimamanda’s call to change the existing discourse is in order. Focusing on the ‘cage’ metaphor (including its qualifiers), however, I question Chimamanda’s description of masculinity since it suggests as though there is no room for contestation – something which weakens her own call for changing the narrative. The paper therefore proposes going beyond the kind of cage Chimamanda equates masculinity with, to make way for the needed interventions.

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20

Duce, Violeta. "Social Media and Female Empowerment in Chimamanda Ngozi Adichie’s Americanah." European Legacy 26, no. 3-4 (February 24, 2021): 243–56. http://dx.doi.org/10.1080/10848770.2021.1891667.

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21

Nutsukpo, Margaret Fafa. "Domestic violence in Chimamanda Ngozi Adichie’s Purple Hibiscus." AFRREV IJAH: An International Journal of Arts and Humanities 6, no. 3 (September 15, 2017): 118. http://dx.doi.org/10.4314/ijah.v6i3.10.

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22

Nunes, Raquel. "A ecocrítica feminista em Purple Hibiscus de Chimamanda Ngozi Adichie." Revista Ártemis 29, no. 1 (July 16, 2020): 62–77. http://dx.doi.org/10.22478/ufpb.1807-8214.2020v29n1.52949.

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Este artigo tem por objetivo analisar Purple Hibiscus, de Chimamanda Ngozi Adichie (2012), a partir da perspectiva da ecocrítica feminista, com embasamentos em Alaimo (2010), Brandão (1997, 2003, 2017, 2019), Gaard (2017) e Walker (1997), com referências também a outros autores a autoras. A análise literária aborda a integração entre os seres – humanos e mais que humanos –, considerando que a natureza não é um cenário, mas parte integrante dos eventos e sentimentos relacionados às personagens. O romance trata da trajetória da protagonista em meio a um contexto conservador e patriarcal de opressão, violência, discriminação e embates culturais.

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23

Harris Satkunananthan, Anita. "Haunts and Specters in Chimamanda Ngozi Adichie’s Biafran (Re)visitations." 3L The Southeast Asian Journal of English Language Studies 24, no. 4 (December 26, 2018): 185–98. http://dx.doi.org/10.17576/3l-2018-2404-14.

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24

Simoes da Silva, Tony. "Embodied genealogies and gendered violence in Chimamanda Ngozi Adichie's writing." African Identities 10, no. 4 (November 2012): 455–70. http://dx.doi.org/10.1080/14725843.2012.731881.

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25

Nilima, Meher. "(Re) writing postcolonial Bildungsroman in Chimamanda Ngozi Adichies Purple Hibiscus." International Journal of English and Literature 5, no. 8 (October 31, 2014): 206–10. http://dx.doi.org/10.5897/ijel2014.0614.

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26

Nwanyanwu, Augustine Uka. "Transculturalism, Otherness, Exile, and Identity in Chimamanda Ngozi Adichie’s Americanah." Matatu 49, no. 2 (December 20, 2017): 386–99. http://dx.doi.org/10.1163/18757421-04902008.

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Abstract Today African literature exhibits and incorporates the decentred realities of African writers themselves as they negotiate and engage with multifarious forms of diaspora experience, dislocation, otherness, displacement, identity, and exile. National cultures in the twenty-first century have undergone significant decentralization. New African writing is now generated in and outside Africa by writers who themselves are products of transcultural forms and must now interrogate existence in global cities, transnational cultures, and the challenges of immigrants in these cities. Very few novels explore the theme of otherness and identity with as much insight as Adichie’s Americanah. The novel brings together opposing cultural forms, at once transcending and celebrating the local, and exploring spaces for the self where identity and otherness can be viewed and clarified. This article endeavours to show how African emigrants seek to affirm, manipulate, and define identity, reclaiming a space for self where migrant culture is marginalized. Adichie’s exemplary focus on transcultural engagement in Americanah provides an accurate representation of present-day African literary production in its dialectical dance between national and international particularities.

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27

Aboh, Romanus, and Happiness Uduk. "The Pragmatics of Nigerian English in Chimamanda Ngozi Adichie’s Novels." Journal of Language and Education 2, no. 3 (September 1, 2016): 6–13. http://dx.doi.org/10.17323/2411-7390-2016-2-3-6-13.

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There are relatively few studies that have examined the pragmatization of Nigerian English in Adichie’s novelistic oeuvre. This study seeks to fill that gap by undertaking a pragmatic analysis of Nigerian English in Adichie’s Purple Hibiscus, Half of a Yellow Sun and Americanah in order to account for the pragmatic relation between utterances and meaning explication. The theory adopted for this study is pragmatic context. The analysis indicates that the use of English as reflected in the novels is pragmatically oriented which, by and large, helps elucidate the particular use of English in the non-literary situation in Nigeria. Also, the analysis demonstrates that the contexts, in which these Nigerian English expressions occur, significantly, draw from Nigeria’s sociocultural milieu, and the sociocultural milieu shapes the meaning or sense discourse participants squeeze out of utterances in interactive situations.

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28

Gauffre, Marie-Jeanne. "Filles de Caliban : les héroïnes nigérianes de Chimamanda Ngozi Adichie." Caliban, no. 52 (November 22, 2014): 157–76. http://dx.doi.org/10.4000/caliban.611.

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29

Nwokocha, Sandra. "Subversive responses to oppression in Chimamanda Ngozi Adichie’s Purple Hibiscus." Journal of Commonwealth Literature 54, no. 3 (August 4, 2017): 367–83. http://dx.doi.org/10.1177/0021989417720817.

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Focusing on Chimamanda Ngozi Adichie’s critically acclaimed Purple Hibiscus (2003), this article argues that subversion, an aggressive performance that aimed at overthrowing and displacing patriarchal institutions which initially impact on the choices and activities of the oppressed, is the hallmark of the fictional figures’ responses to oppression. The essay contends that such forceful reactions to repression expand our understanding of twenty-first century Nigerian female-authored narratives. This argument I contrast with earlier critical readings, observing that while critics are eager to expose and endorse a female presence in the text, the readings often undermine its revolutionary suggestions. Through a radical feminist approach, my analysis of the novel highlights the heroines in order to demonstrate subversive behaviours in their drive to establish female agency, and notes such defiance to be necessary considering their repressive milieu. In doing so, I conclude with the notion that dissidence is a remarkable feature of the novel, and that the radical feminist paradigm is useful in widening awareness to this groundbreaking tenor.

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30

Aor, Terfa. "Internet-mediated Language and style in Chimamanda Ngozi Adichie’s Americanah." Journal of Emerging Technologies 2, no. 2 (December 28, 2022): 76–84. http://dx.doi.org/10.57040/jet.v2i2.334.

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The astounding development in Information Communication Technology (ICT) has transformed all fields of human endeavours and provided various media that writers employ in their literary texts. As rich as internet-mediated language and style are in the study of Adichie’s Americanah, there are paucity of scholarly studies that discussd their linguistic features and relevance. Therefore, the objective of this study is to investigate the aspects of internet-mediated language and style used in Chimamanda Ngozi Adichie’s Americanah. This study adopted Computer-mediated Communication (CMC) and this theory is dichotomised into synchronous and asynchronous modes. Synchronous modes comprise telephone conversations and instant messaging whereas asynchronous modes include e-mails, blogs and text messages. Methodologically, this study selected Adichie’s Americanah as a primary source using judgemental sampling. The documentary sources were obtained via journal articles, textbooks, dictionaries, dissertations and theses that boosted this study’s review. As for data presentation and analysis, the author read Americanah; selected Internet-mediated (IM) features; classified them into blogs, e-mails, text messages and telephone conversations and analysed them. One of the findings is that IM style saves time and enhances quick narration than letters. Secondly, the domestication of IM jargons in Americanah also indicates that the language of ICT is relevant in literature. Lastly, IMC is a recent style that Adichie employs in Americanah. This study will have tremendous impacts on English, Linguistics, Mass Communication, ICT and Literature students, researchers, scholars and lecturers.

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31

Pingping, SHI. "Chimamanda Ngozi Adichie’s Views on Literature and Her Creative Practice." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 4 (December 30, 2022): 028–35. http://dx.doi.org/10.53789/j.1653-0465.2022.0204.005.p.

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Famous Nigerian writer Chimamanda Ngozi Adichie believes that the role of literature is to instruct and delight. Her realist literary creation focuses on Nigeria’s post-colonial cultural and political reconstruction, as well as race, gender and class in a cross-cultural context, which reflects her Igbo, Nigerian and African “sensibility” and a certain cosmopolitan stance. The present article comprehensively investigates Adichie’s views on literature, creative practice and the dissemination and acceptance of her works to achieve an in-depth understanding of the writer.

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32

Souza, Francisca Zuleide Duarte de. "Dissimular para sobreviver: a cumplicidade do silêncio." Via Atlântica, no. 23 (June 29, 2013): 100. http://dx.doi.org/10.11606/va.v0i23.85048.

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ESTE ARTIGO ANALISA O ROMANCE<em> HIBISCO ROXO </em>(2011), DA ESCRITORA NIGERIANA CHIMAMANDA NGOZI ADICHIE. PRETENDE-SE DISCUTIR O RECURSO À DISSIMULAÇÃO ADOTADO POR PERSONAGENS SUBALTERNIZADAS NAS LITERATURAS VINCULADAS AO PROCESSO DE COLONIZAÇÃO COMO ESTRATÉGIAS DE SOBREVIVÊNCIA DIANTE DOS SISTEMAS DE DOMINAÇÃO E SILENCIAMENTO IMPOSTOS POR REGIMES AUTORITÁRIOS.

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33

Shevchenko, Arina Rafail'evna. "Clash of cultures in the short stories by Chimamanda Ngozi Adichie." Litera, no. 12 (December 2021): 34–47. http://dx.doi.org/10.25136/2409-8698.2021.12.37109.

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The object of this article is the English-language multicultural prose of the late XX – early XXI centuries. The subject is the situation of clash of cultures. The research material is based on individual short stories by the contemporary US-Nigerian writer Chimamanda Ngozi Adichie published in the book “The Thing Around Your Neck” (2009). The goal of this article lies in determination and analysis of the peculiarities of artistic expression and functionality of the situation of clash of cultures in the writer’s short stories. The relevance is substantiated by the following factors: 1) clash of cultures is typical for the relationships in modern multipolar world during the globalization era, thus it is relevant in literary works of the authors of the XX–XXI centuries;  2) literary studies currently indicate heightened interest in covering various aspects of fictional multicultural prose; 3) Adichie is a remarkable figure in the modern literary process. The short stories by Chimamanda Ngozi Adichie are unique in their reference to signal trends in the development of the English-language literature, and thus are a relevant in the context of studying the designated topic. Unlike the works of multicultural writers of the second half of the XX century, which have repeatedly been the object of scientific research, the multicultural prose of the late XX – early XXI centuries is poorly studied. The scientific novelty is defined by the fact that the analysis of short stories from the collection “The Thing Around Your Neck” by Chimamanda Ngozi Adichie, which is not translated into the Russian language, is carried out for the first time within the Russian literally studies. The conclusion is made that the situation of clash of cultures in Adichie’s stories becomes the factor that induces mental crisis in the minds of the characters. There is no constructive dialogue of cultures, and their clash leads the characters to either the loss or substitution of identity.

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34

Carreira, Shirley. "Migração, identidade e espaço em contos de Orlanda Amarílis e Chimamanda Ngozi Adichie." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 21, no. 1 (June 7, 2017): 64–71. http://dx.doi.org/10.34019/1982-0836.2017.v21.19433.

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Este trabalho propõe a análise de textos literários que promovem não só a representação de diferentes formas de relação dos imigrantes com a terra natal, mas também o processo de reconfiguração das identidades na pátria de acolhimento. Para tanto, serão examinados os contos “Cais-do-Sodré” e “Desencanto” de Orlanda Amarílis, e “No seu pescoço”, de Chimamanda Ngozi Adichie.

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35

Mami, Fouad. "Circumventing Cultural Reification: A Study of Chimamanda Ngozi Adichie’S the Thing Around Your Neck." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 215–25. http://dx.doi.org/10.2478/rjes-2014-0025.

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Abstract Chimamanda Ngozi Adichie argues in her 2009 collection of short stories that in as much as brutal dictatorship together with extreme underdevelopment propel young Nigerians for immigration, inaccurate and often scandalizing media portrayal also has nonetheless an important share in the sad drama. Her drama proposes way of circumventing cultural reification caused by inaccurate media representation.

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36

KWON, Young Hee. ""Decolonizing Feminism: Chimamanda Ngozi Adichie’s Deconstruction of Third-World Woman Stereotypes"." In/Outside: English Studies in Korea 45 (November 30, 2018): 38–60. http://dx.doi.org/10.46645/inoutsesk.45.2.

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37

Musagasa, Mukoi. "The Making of the ‘New Man’ in Chimamanda Ngozi Adichie’s Americanah." Umma: The Journal of Contemporary Literature and Creative Art 9, no. 1 (2022): 74–93. http://dx.doi.org/10.56279/ummaj.v9i1.4.

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This paper examines the making of a ‘new man’ character in Adichie’s Americanah and discusses how such a moulded man integrates himself in society and deals with other gendered worlds. The discussion shows how much Adichie in the representation of ‘new man’ character in her novel rejects the naturalisation of the unchangeability of the male subject by dramatizing how much the male’s enactment of masculine-self is contingent to the orientation one gets. In this paper, I establish that that Adichie’s representation of progressive ‘new man’ character in her novel does not only serve as a role model for ideal alternative masculinity, but also re-invents a space necessary for a progressive female character to belong in hetero-patriarchal setting of the novel. Although the categorisation of modes of masculinity in this paper begins with Connell’s binary of hegemonic and subordinate masculinities, the objective of the discussion is beyond such fixity. My interest in this paper is precisely on the sets of masculinity which, although they divert from the hegemony, the difference or the deficit of hegemonic masculinity does not suggest the inferiority. The paper borrows Swain’s (2006) “personalized masculinities” to refer to softer and transgressive modes of masculinities that are rebellious against the naturalisation of heteronormativity.

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38

Ross. "Ownership of Language: Diglossia in the Fiction of Chimamanda Ngozi Adichie." Research in African Literatures 50, no. 1 (2019): 111. http://dx.doi.org/10.2979/reseafrilite.50.1.07.

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39

Woodend, Kyle. "On the Familiar and the Unfamiliar in Chimamanda Ngozi Adichie's Americanah." South Central Review 38, no. 2-3 (2021): 166–71. http://dx.doi.org/10.1353/scr.2021.0013.

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40

Astrick, Tifanny. "Patriarchal Oppression and Women Empowerment in Chimamanda Ngozi Adichie’s Purple Hibiscus." Vivid Journal of Language and Literature 7, no. 2 (July 23, 2019): 45. http://dx.doi.org/10.25077/vj.7.2.45-50.2018.

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This study examines how Chimamanda Ngozi Adichie's Purple Hibiscus interrogates the oppressions of women in the Nigerian patriarchal society and how women empower each other lead them to women empowerment. The study shows how the oppressions of women is represented through female characters which perpetually put women in disadvantaged positions as portrayed in Purple Hibiscus. One of the most despicable oppression among the so well-known cultural practices in Nigeria is the patriarchal oppression. However, as the events unfold, efforts will be made in order to reveal of how African women are rated based on the good and real women as represented by Beatrice and Ifeoma. I argue that Adichie's approach to subvert patriarchal oppression describes that despite the struggle and pain, women assert themselves in the world of patriarchy through education and sisterhood. Adichie’s novel suggests women empowerment through social transformation confronted by women. The title of the novel, "Purple Hibiscus" may refer to a particular type of flower, but it also emphasizes the triumph of the innovative suggesting that the unusual is not necessarily bad as it looks which aims to women empowerment.

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Ukande, Chris K. "Post-Colonial Practice in Chimamanda Ngozi Adichie’s Purple Hibiscus." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 5, no. 1 (February 9, 2016): 51. http://dx.doi.org/10.4314/laligens.v5i1.5.

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Akpome, Aghogho. "Focalisation and Polyvocality in Chimamanda Ngozi Adichie’sHalf of a Yellow Sun." English Studies in Africa 56, no. 2 (October 2013): 25–35. http://dx.doi.org/10.1080/00138398.2013.856556.

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Phiri, Aretha. "Expanding black subjectivities in Toni Morrison’sSong of Solomonand Chimamanda Ngozi Adichie’sAmericanah." Cultural Studies 31, no. 1 (September 23, 2016): 121–42. http://dx.doi.org/10.1080/09502386.2016.1232422.

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Chernyshova, Svitlana. "Beauty Industry and Racialization of Beauty in Chimamanda Ngozi Adichie’s “Americanah”." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 130–43. http://dx.doi.org/10.31861/pytlit2022.106.130.

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Beauty standards and beauty norms contribute to strict expectations of what physical attractiveness is and should be. Images of white standards function oppressively toward other races and their understandings of beauty. In the context of migratory fiction, the relationship between beauty and race becomes central. The appropriation of beauty norms of the dominant group signals about immigrants’ eagerness to follow the rules and accept the norm of the receiving country. On the other hand, an attempt to follow the beauty industry ideology very often leads to immigrants’ self-hatred and low esteem. They suffer from inferiority complex as they are comparing themselves to a standard that is biologically unattainable for them to achieve. The article deals with Chimamanda Ngozi Adichie’s novel “Americanah”. The main protagonist, Ifemelu, after arriving from Nigeria to the U.S.A. changes her hair style as she is influenced by the racial stereotypes about White attractiveness. She believes that her chances will be higher is she relaxes her hair. Instead, she suffers from the loss of hair because of bad treatment. Her despair is verbalized in the blog-writing, where Ifemelu criticizes beauty industry which promotes certain standards. After some years in the U.S.A Ifemelu rejects the norms of structural racism and return to her natural hair. This is the symbolic act of reclaiming her identity after long years of suffering from the regime of race. To analyze the oppressive nature of beauty industry in the novel we have used the methods of close reading, hermeneutics, and character’s typology.

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Sene, Abdou. "Bridging the gap among social classes in Chimamanda Ngozi Adichie’s Half of a Yellow Sun (2006)." International Journal of Humanities and Innovation (IJHI) 4, no. 4 (December 31, 2021): 186–91. http://dx.doi.org/10.33750/ijhi.v4i4.139.

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The Biafra War has been the subject of many historical accounts and literary texts. Among the novels produced about the Biafra War is Chimamanda Ngozi Adichie’s Half of a Yellow Sun (2006) where the author recounts not only the events leading to the war but also those during and just after the conflict. Though the events of the Biafra War constitute the central theme in Half of a Yellow Sun, Adichie also deals with the relationships among social classes in this novel. One may wonder why the author shows that some upper-class people are keen on their difference, their ‘superiority’, and, on the other hand, people of the upper and middle classes are human and respectful towards lower-class persons. What is the purpose of the writer in drawing this parallel? From a socialist and humanist perspective, this article deals with “bridging the gap among social classes in Chimamanda Ngozi Adichie’s Half of a Yellow Sun.” Based on sociology, psychology, socialism, and humanism, the paper will first deal with the criticism of the Nigerian upper class and then with Adichie’s advocacy for a socialist and humanist society.

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Angulo-Giraldo, Miguel. "Los tránsitos de la pérdida: a propósito de Sobre el duelo de Chimamanda Ngozi Adichie." Alea: Estudos Neolatinos 24, no. 3 (December 2022): 303–8. http://dx.doi.org/10.1590/1517-106x/202224318.

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Mark, O. Ighile, and Oghogho Oseghale Charity. "Mimicry, rebellion and subversion of Western beliefs in Chimamanda Ngozi Adichies Americanah." International Journal of English and Literature 12, no. 1 (April 30, 2021): 1–6. http://dx.doi.org/10.5897/ijel2019.1244.

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Shevchenko, Arina R. "The Representation of Racial and Ethnic Conflict in Chimamanda Ngozi Adichie’s “Americanah”." Polylinguality and Transcultural Practices 19, no. 3 (September 30, 2022): 481–90. http://dx.doi.org/10.22363/2618-897x-2022-19-3-481-490.

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The relevance of the research undertaken is connected with the current tendency of multiculturalism in fiction, which has been developing and transforming with the appearance of new writers, to be non-static. Many contemporary authors have already become impossible to be correlated with a specific national literature since they have had the experience of living in more than one country and have been the bearers of several cultural codes due to their encounter with diverse mentalities as well as the formation of their own identity in the situation of cultural interaction. Ipso facto, it is possible to dwell on a new turn in the development of multicultural fiction to date. Suchlike state of affairs provides an opportunity to claim the necessity of scholarly comprehension of the works by the new multicultural authors’ generation. One of them is Chimamanda Ngozi Adichie (1977), an African American female writer, whose creativity can be characterized as a sui generis phenomenon formed by the ‘fusion’ of African, British and American literary traditions. Her novel Americanah (2013) serves as the material for the study, the purpose of which is to consider the most significant peculiarities in the representation of racial and ethnic conflict in the text of contemporary multicultural fiction. Basing on the complex of historical and literary and social and cultural methods, the paper analyses the specifics of artistic embodiment of racial and ethnic and, consequently, cultural clash that influences on the main heroine’s self-identification process. The fact that the image of the central female character, a Nigerian immigrant to the US, is autobiographical substantiates the relevancy of biographical research method having been involved. The results obtained allow concluding that the only way out for the character, whose position mirrors the one of the writer herself, is hybridization, which allows including the experience of existence in American reality as well as self-realization as a part and parcel of the heroine’s native history, nation, tradition and culture.

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Gebreyohannes, Nigus Michael, and Abiye Daniel David. "Women and Nature: An Ecofeminist Reading of Chimamanda Ngozi Adichie’s Purple Hibiscus." Literature 2, no. 3 (September 1, 2022): 179–88. http://dx.doi.org/10.3390/literature2030015.

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The purpose of this research is to explore ecofeminist issues in Chimamanda Nagozi Adichie’s novel Purple Hibiscus. It examines the connections between women and nature as well as how unjustified patriarchal domination and Christianity impact these groups as well as indigenous people. A close reading of the novel was conducted in order to select extracts that demonstrate ecofeminist issues. Then, textual analysis was adopted to analyze the selected extracts. Thus, based on the analysis made, the novel shows strong interaction between women and the natural environment. The main character, Kambili, perceives nature as a symbol of hope, freedom, and impressiveness. In contrast, she represents nature as a foreshadowing of chaos and loss of life. The other issue stated in the novel is the women’s skill in nurturing plants and flowers. The novel claims that Aunty Ifeoma is knowledgeable and skillful when it comes to gardening. Additionally, Kambili’s mother is characterized as an excellent gardener who enjoys caring for the plants and flowers in her garden. Moreover, women are portrayed in the novel as the ones who harvest and produce agricultural goods. Finally, Purple Hibiscus illustrates how the patriarchal system and Christianity have led to an unjustified domination of nature and humans based on gender, religion, class, and tradition.

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Djimet, Issa. "Thematic Choices in Chimamanda Ngozi Adichie’s Discourse: We Should All Be Feminists." Mediterranean Journal of Social Sciences 13, no. 4 (July 5, 2022): 12. http://dx.doi.org/10.36941/mjss-2022-0027.

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This paper is about the analysis of Chimamanda’s discourse on feminism. The paper adopts the systemic functional approach to language, notably the textual meaning so as to find out what are the thematic choices made by the author of the discourse and how this contributes in constructing or deconstructing cultural beliefs about women. The linguistics data are analyzed both on the quantitative and qualitative bases, that is, the paper uses the mixed research method. The discourse is therefore split into analyzable units referred to as clauses to which figures and statistics are meticulously ascribed. The results reveal a predominance of Topical Themes followed by textual ones whereas interpersonal elements are rarely thematized in the discourse. Furthermore, the analysis discloses a significant number of marked Themes. It is through such thematic choices that the author highlights and deconstructs discriminating prejudices by emphasizing positive attitudes that might bring about cultural changes in favor of women’s empowerment. Received: 26 April 2022 / Accepted: 30 June 2022 / Published: 5 July 2022

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