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Journal articles on the topic 'Feminism and literature – Nigeria'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Amaefula, Rowland Chukwuemeka. "African Feminisms: Paradigms, Problems and Prospects." Feminismo/s, no. 37 (January 21, 2021): 289. http://dx.doi.org/10.14198/fem.2021.37.12.

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African feminisms comprise the differing brands of equalist theories and efforts geared towards enhancing the condition of woman. However, the meaning and application of the word ‘feminism’ poses several problems for African women writers and critics many of whom distance themselves from the movement. Their indifference stems from the anti-men/anti-religion status accorded feminism in recent times. Thus, several women writers have sought to re-theorize feminism in a manner that fittingly captures their socio-cultural beliefs, leading to multiple feminisms in African literature. This study critically analyzes the mainstream theories of feminisms in Africa with a view to unravelling the contradictions inherent in the ongoing efforts at conceptualizing African feminisms. The paper further argues for workable ways of practicing African feminisms to serve practical benefits for African man and woman, and to also function as an appropriate tool for assessing works by literary writers in Nigeria in particular and Africa in general.

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KOUSSOUHON, Léonard, and Fortuné AGBACHI. "Ambivalent Gender Identities in Contemporary African Literature: A Butlerian Perspective." Journal for the Study of English Linguistics 4, no. 1 (June 6, 2016): 81. http://dx.doi.org/10.5296/jsel.v4i1.9558.

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<p>This paper is an attempt to examine the way male and female participants perform gender in 03 novels, <em>Everything Good Will Come</em> (2006), <em>Swallow</em> (2010) and <em>A Bit of Difference</em> (2013), by a contemporary Nigerian writer called Sefi Atta. The study draws on Gender Performative Theory as developed by the feminist Butler (1990/1999). This theory considers gender identities as being socially constructed. The study highlights the multiple ways in which male and female participants perform gender according to established social norms in the selected novels. Regarding the existing social norms in Nigeria, the findings by scholars like Fakeye, George and Owoyemi (2012), Mejiuni and Awolowo (2006), Bourey et al (2012), Gbadebo, Kehinde and Adedeji (2012), Okunola and Ojo (2012) exude that men are traditionally portrayed as career people, assertive, powerful and active, independent and violent while women are stereotypically depicted as housewives, submissive, powerless and passive, dependent and non-violent (or victims). Based on the above dichotomies between men and women, the study unveils the ideology that underpins gender performances in the novels.</p>

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3

OKOLOCHA, H. OBY, and LENDZEMO CONSTANTINE YUKA. "Neologism and Dual Gender Status." Matatu 47, no. 1 (August 22, 2016): 15–35. http://dx.doi.org/10.1163/18757421-90000393.

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Wazobia, the name of the female king in Tess Onwueme’s play The Reign of Wazobia, is a neologism derived from Yorùbá, Igbó, and Hausa respectively, the three dominant languages in Nigeria. Motivated by the relevance of Onwueme’s lexical selection and the socio-political contexts in which the play is set, the essay relies on pragmatic contexts of language usage to analyse the coinage of the name to ascertain whether it dramatizes a political attempt to advocate unity between the three major ethnic groups in Nigeria. The essay also interrogates Wazobia’s dual gender status, and the feminist implications of the fact that she does not rule as a woman but as either a man or an androgynous figure. Wazobia’s dual gender and the illegal extension of her three-year regency raise a number of questions, some of which appear to contradict Onwueme’s well-articulated feminist stance. The essay shows that the neologism of Wazobia is largely restricted to a feminist stance, canvassing intra-gender unity among all Nigerian women as a prerequisite for attaining power and emergence into politics and spaces of leadership. Wazobia’s gender duality is interpreted as Onwueme’s rejection of gender-associated restrictions. This dual status also embodies socio-political implications for unity in the male/female divide, and the Igbóo/Hausa/Yorùbá division. The work interprets the favourable treatment of Wazobia’s tyranny as Onwueme’s feminist bias and political aspirations for women.

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4

Gilbert, Juliet. "‘BE GRACEFUL, PATIENT, EVER PRAYERFUL’: NEGOTIATING FEMININITY, RESPECT AND THE RELIGIOUS SELF IN A NIGERIAN BEAUTY PAGEANT." Africa 85, no. 3 (July 9, 2015): 501–20. http://dx.doi.org/10.1017/s0001972015000285.

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ABSTRACTBeauty pageants in Nigeria have become highly popular spectacles, the crowned winners venerated for their beauty, success and ability to better society through charity. This paper focuses on the Carnival Calabar Queen pageant, highlighting how pageants, at the nexus of gender and the nation, are sites of social reproduction by creating feminine ideals. A divinely inspired initiative of a fervently Pentecostal First Lady, the pageant crowns an ambassador for young women's rights. While the queen must have ‘grace and beauty’ and be ‘ever prayerful’, the discussion unravels emic conceptions of feminine beauty, religiosity and respectability. Yet, young women also use pageantry as a ‘platform’ for success, hoping to challenge the double bind of gender and generation they experience in Nigeria. The discussion pays particular attention to how young women, trying to overcome the insecurities of (urban) Nigerian life, make choices to negotiate individualism with community, and piety with patriarchy. Ethnographically, this paper situates beauty pageants in the region's past and present practices that mould feminine subjectivities. Contributing young women's experiences to recent literature on the temporalities of African youth, the paper's explicit focus on how new subjectivities form through action illuminates important themes regarding agency, resistance and notions of the religious self. In doing so, it furthers current analyses of Pentecostalism, seeking a more nuanced understanding of gender reconfiguration and demonstrating how religious subjects can be formed outside church institutions.

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5

Udengwu, Ngozi. "Funmilayo Ranco: Feminist Self-Assertion in Late-20th-Century Yoruba Traveling Theatre." TDR/The Drama Review 63, no. 1 (March 2019): 52–63. http://dx.doi.org/10.1162/dram_a_00816.

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Funmilayo Ranco was a radical self-proclaimed feminist in 1960s Nigeria. As the only female actor-manager in the professional Yoruba traveling theatre, she upended the conventions of the popular form’s opening and closing glee entertainments to assert her complex gender expression.

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6

Wariboko, Onyinyechi Priscilla Christian, and Caroline N. Mbonu. "Di bụ ugwu nwanyị (Husband is the dignity of a woman): Reimagining the Validity of an Igbo Aphorism in Contemporary Society." Journal of Gender and Power 14, no. 2 (December 1, 2020): 103–22. http://dx.doi.org/10.2478/jgp-2020-0016.

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Abstract Cultural aphorisms tend to sustain gender disparity. There are certain cultural expressions which tend to sustain gender disparity and oppression among the Igbo of Nigeria. One of such is di bụ ugwu nwanyị, literally translated ‘husband is a woman’s dignity’. This Igbo maxim tends to foster gendered marginalization and oppression in contemporary Igboland. The saying reinforces the status of the husband as requisite for the visibility and pride of the woman. Perhaps this may explain why some marital issues such as husband infidelity, wife-battering, are culturally underplayed for protection of the man. Thus women are forced to endure abuses in their marriages. There exist a plethora of other gender related issues that are rooted in the di bụ ugwu nwanyị metaphor. This paper engages the implications of this Igbo cultural expression amidst the advocacy of gender justice and inclusivity in Igbo land. As qualitative study that adopts the phenomenological approach, this paper, draws insight from interviews, observations, oral histories and extant Igbo literature. Akachi Ezeigbo’s snail-sense feminism and Obioma Nnaemeka’s negofeminism undergird the theoretical framework. The paper advocates for the obliteration, or reinterpretation of di bụ ugwu nwanyị that honours dignity for gender equity and inclusivity so as to valorize the status of women in Igboland.

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7

Nnaemeka, Obioma. "Toward a feminist criticism of Nigerian literature." Feminist Issues 9, no. 1 (March 1989): 73–87. http://dx.doi.org/10.1007/bf02685604.

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8

Tijani-Adenle, Ganiyat. "She’s homely, beautiful and then, hardworking!" Gender in Management: An International Journal 31, no. 5/6 (July 4, 2016): 396–410. http://dx.doi.org/10.1108/gm-06-2015-0053.

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Purpose There are assumptions in gender-related media research that increased female status would be accompanied by more and better representation of women. There are also expectations that an increase in the number of women working in the news media will increase the positive representation of women. The aim of this paper is to critique the representation of women leaders and managers in the Nigerian press to assess the extent to which these factors have influenced the representation of women in the West African country. Design/methodology/approach Using two methods, qualitative content analysis and interview, this chapter critiques the representation of women leaders and managers in Nigerian Guardian Life and Vanguard Allure (over a period of six months – the last half of 2014) to determine the way women in leadership and management are constructed by checking for frames on stereotypes, gender roles and trivialisation themes. The editors of the two publications are then interviewed to consider the philosophies behind the coverage patterns and assess their knowledge and awareness of the implications of the coverage patterns on the status of women in the sub-Saharan African country. Findings It was discovered that the Nigerian press are focusing on re-enforcing traditional gender roles and norms rather than challenging them, and women in leadership and management in the country do not apply sufficient agency in challenging the status quo. Research limitations/implications Even though information derived from this study cannot be said to represent the realities in all of Africa, it surely provides a good context within which issues about media representation of women in leadership and management in Africa can be better understood to assess how the cultures on the continent’s various countries affect the realities of the lives of women. Originality/value The bulk of feminist research is situated in the North. Not much feminist research is being done in the South, and there appears to be an inadequate engagement with the available few in the literature. This chapter bridges the gap by presenting much needed information about gender, media and organisation in Nigeria; a highly populous multi-ethnic and multi-cultural sub-Saharan African country. Even though information derived from this study cannot be said to represent the realities in all of Africa, it will surely provide a good context within which issues about media, gender and organisation in Africa can be better appreciated.

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9

Azuah, Unoma N. "The Emerging Lesbian Voice in Nigerian Feminist Literature." Matatu 29-30, no. 1 (June 1, 2005): 129–42. http://dx.doi.org/10.1163/18757421-029030009.

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10

Mayer, Adam. "Ifeoma Okoye: socialist-feminist political horizons in Nigerian literature." Review of African Political Economy 45, no. 156 (April 3, 2018): 335–44. http://dx.doi.org/10.1080/03056244.2018.1482827.

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11

Clark, Beverly Lyon, Barbara Christian, Ellen Carol DuBois, Gail Paradise Kelly, Elizabeth Lapovsky Kennedy, Carolyn W. Korsmeyer, Lillian S. Robinson, et al. "Feminism and Literature." Contemporary Literature 29, no. 2 (1988): 318. http://dx.doi.org/10.2307/1208447.

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12

Dibie, Robert. "Feminism and family abuse in Nigeria." New Global Development 16, no. 1 (January 2000): 36–46. http://dx.doi.org/10.1080/17486830008415781.

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13

Okeugo, Oluchi Chris, Obioha, and Jane Onyinye. "African Prose Fiction and the Depiction of Corruption in Islamic Society and Religion: A Critical Study of Abubakar Gimba’s Witnesses to Tears and Sacred Apples." International Journal of Applied Linguistics and English Literature 9, no. 1 (January 31, 2020): 61. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.1p.61.

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African prose fictions have written on a whole number of ideas and perception, but have conspicuously paid little or no attention to what is predominant in the Islamic society and religious world. For Gimba, the intrigues and contestation over power, especially within the civil service, assume a metaphoric significance in unraveling social contradictions in society. Gimba thus, evaluates the various dimensions of power and how it is used to subjugate or oppress people. In most of his works, Gimba pillories the repressive nature of power and the conflicts it engenders are graphically illustrated. In his articulation of this disabling environment, Gimba evokes a consciousness, concerned with Manichaeism and alienation. Gimba is sensitive to his characters as they adjust to the uncertainties of a postcolonial society with all the indices of underdevelopment, greed, corruption, bureaucratic tardiness, indiscipline, political instability etc. These characteristics of modern Nigeria form the background from which Gimba’s characters are drawn. However, drawing from their Islamic background, the characters in Gimba’s works express their morality, conviction and thought through the ideals of the religion. This leads to a remarkable blending of social and moral concerns with the supervening influence of Islam without sermonization. The outcome of this fusion is a balance between aesthetics and spiritual interests in a way that captures the essence of Northern Nigeria with vividness and freshness. Gimba, like Tahir, therefore relates the traditional and cultural values of the people to their response to the dilemma of new experiences and their interpretations of them. Gimba draws his sources from The Holy Qur’an in the delineation of setting, action and character. As a liberal feminist, he chooses urban heroines through whom he restructures our visions. This article attempts to investigate Gimba’s works using Neo-humanistic theory in evaluating his inclusion of religion and the techniques used conspicuously in the novels, Witnesses to Tears and Sacred Apples. This scholarly work equally argues that the writer’s creativity in religion can best be appreciated through an analytical study of the novel.

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14

Ogunyemi, Christopher Babatunde. "FEMINIST AND STRUCTURAL NARRATOLOGIE AS IDENTITY (RE)-CONFIGURATIONS IN AFRICAN NARRATIVES: A META-CRITICAL EXPOSITION OF LITERARY ARTICLES." English Review: Journal of English Education 6, no. 1 (December 23, 2017): 21. http://dx.doi.org/10.25134/erjee.v6i1.767.

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Research in African literature articulated a number of literary and philosophical theories, particularly in the way that they can potentially undo conventional understandings of gender in the Nigerian context. This paper seeks to apply these insights in the form of a critical narratology.� Although narratology has a structuralist or formalist orientation, having its theoretical beginning in Saussure�s modern linguistics, and like structuralism, aspires to �scientific� or �universalist� claims, it, also, examines the way in which narratives affect the way we perceive the world. This paper will attempt to mobilise narratology critically, with the benefit of the insights emerging from various articles, in order to help our understanding of the question of gender and social themes in Nigerian post-colonial literature. Most especially, this paper will visualise the analysis of structural narratology and finally with feminist narratology in order to correct the inadequacies of structural narratology and the suppression of women in texts.Keywords: African literature, feminist narratology, gender identity, structural narratology

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15

Rosner, Victoria. "Literature after Feminism (review)." South Central Review 23, no. 1 (2006): 124–26. http://dx.doi.org/10.1353/scr.2006.0013.

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16

Salvaggio, Ruth. "Literature After Feminism (review)." MFS Modern Fiction Studies 50, no. 3 (2004): 785–86. http://dx.doi.org/10.1353/mfs.2004.0087.

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17

Krishnan. "Mami Wata and the Occluded Feminine in Anglophone Nigerian-Igbo Literature." Research in African Literatures 43, no. 1 (2012): 1. http://dx.doi.org/10.2979/reseafrilite.43.1.1.

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18

Heilbrun, Carolyn, and Judith Resnik. "Convergences: Law, Literature, and Feminism." Yale Law Journal 99, no. 8 (June 1990): 1913. http://dx.doi.org/10.2307/796678.

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19

Booth, Alison. "Feminism." Victorian Literature and Culture 46, no. 3-4 (2018): 691–97. http://dx.doi.org/10.1017/s106015031800058x.

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20

Holyoke, T. C., and Catharine A. MacKinnon. "Feminism Unmodified." Antioch Review 45, no. 4 (1987): 494. http://dx.doi.org/10.2307/4611802.

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21

Hogan, K. "Superserviceable Feminism." Minnesota Review 2005, no. 63-64 (March 1, 2005): 95–111. http://dx.doi.org/10.1215/00265667-2005-63-64-95.

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22

Adkins, Peter. "Anthropocene feminism." Green Letters 22, no. 3 (July 3, 2018): 334–36. http://dx.doi.org/10.1080/14688417.2018.1541629.

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23

Akinbobola, Yemisi. "Defining African Feminism(s) While #BeingFemaleinNigeria." African Diaspora 12, no. 1-2 (June 28, 2020): 64–88. http://dx.doi.org/10.1163/18725465-bja10009.

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Abstract In 2015, a reading group in Abuja, Nigeria, started the hashtag #BeingFemaleinNigeria, which received widespread attention. Within the confines of 140 characters, Nigerian women and men shared stories of gender inequality, sexism and misogyny in the country. Using feminist critical discourse analysis, this article unpacks the tweets under the #BeingFemaleinNigeria hashtag, and teases out what they tell us about gender inequality in Nigeria, and the ambitions for emancipation. This article takes the stance that African feminism(s) exist, that empirical study of lived experiences of African women should define it, and not perspectives that reject and argue that feminism comes from the other. Therefore, this empirical research contributes to scholarship that seeks to define the characteristics of African feminism(s), particularly as the field is criticised for being over-theorised.

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24

Humphries, Jefferson, Charles Bernheimer, and Naomi Schor. "Troping the Body: Literature and Feminism." Diacritics 18, no. 1 (1988): 18. http://dx.doi.org/10.2307/465346.

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25

Gelwick, Richard. "Preface Concerning Feminism, Literature, and Truth." Tradition and Discovery: The Polanyi Society Periodical 15, no. 2 (1987): 2. http://dx.doi.org/10.5840/traddisc1987/19891521.

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26

O'Toole, Mary, and Declan Kiberd. "Men and Feminism in Modern Literature." Tulsa Studies in Women's Literature 5, no. 1 (1986): 130. http://dx.doi.org/10.2307/463670.

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27

Humm, Maggie. "Brazil: Feminism, literature, and women's studies." Women's Studies International Forum 12, no. 4 (January 1989): 475–78. http://dx.doi.org/10.1016/0277-5395(89)90042-3.

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28

OGUNDIPE-LESLIE, MOLARA. "African Literature, Feminism, and Social Change." Matatu 23-24, no. 1 (April 26, 2001): 307–22. http://dx.doi.org/10.1163/18757421-90000382.

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29

Shildrick, Margrit. "Gut Feminism." Contemporary Women's Writing 10, no. 1 (February 11, 2016): 143–45. http://dx.doi.org/10.1093/cww/vpw002.

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30

Alhammad, Mouzah. "Feminism between modern literature and literature in ancient times." مجلة البحث العلمی فی الآداب 2, no. 5 (August 1, 2017): 1–16. http://dx.doi.org/10.21608/jssa.2017.11193.

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31

Yaeger, Patricia, and Anne K. Mellor. "Romanticism and Feminism." Studies in Romanticism 30, no. 3 (1991): 499. http://dx.doi.org/10.2307/25600912.

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32

Ferguson, M. "Feminism in Time." Modern Language Quarterly 65, no. 1 (March 1, 2004): 7–28. http://dx.doi.org/10.1215/00267929-65-1-7.

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33

Smith, S. A. "Feminism in Time." Novel: A Forum on Fiction 44, no. 1 (March 1, 2011): 153–55. http://dx.doi.org/10.1215/00295132-1164509.

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34

Ezeilo, Joy. "Feminism and Islamic Fundamentalism: Some Perspectives from Nigeria and Beyond." Signs: Journal of Women in Culture and Society 32, no. 1 (September 2006): 40–47. http://dx.doi.org/10.1086/505544.

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35

Carlson, Ingeborg L., Edith Hoshino Altbach, Jeanette Clausen, Dagmar Schultz, and Naomi Stephan. "German Feminism: Readings in Politics and Literature." Rocky Mountain Review of Language and Literature 39, no. 4 (1985): 278. http://dx.doi.org/10.2307/1347471.

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36

Maynes, Mary Jo, Edith Hoshino Altbach, Jeanette Clausen, Dagmar Schultz, and Naomi Stephan. "German Feminism: Readings in Politics and Literature." Contemporary Sociology 15, no. 1 (January 1986): 107. http://dx.doi.org/10.2307/2070955.

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37

Brauner, Sigrid, and Maresi Nerad. "German feminism: Reading in politics and literature." Women's Studies International Forum 8, no. 6 (January 1985): 650–51. http://dx.doi.org/10.1016/0277-5395(85)90106-2.

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38

Bazin, Nancy Topping. "Feminism in the Literature of African Women." Black Scholar 20, no. 3-4 (January 1989): 8–17. http://dx.doi.org/10.1080/00064246.1989.11412933.

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39

Tjong, Cendrawaty. "Feminism and the Literature of Pramoedya Ananta Toer." Lingua Cultura 7, no. 1 (May 31, 2013): 24. http://dx.doi.org/10.21512/lc.v7i1.414.

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Feminism refers to the social ideological trends that women ask for equal rights as well as the results of ideology when women know the world, the ego, and the sexual relationship in their process of seeking self-liberation. This paper starts with describing the periods in which Indonesian women acknowledged and was associated with western feminism as well as analyzing its period of development. This paper aims at researching the feminism idelology of Pramoedya Ananta Toer, a leading Indonesian writer, including the factors which affect his opinion on women and the expression of his feminism, which is richly displayed throughout his works. The finding of this research shows that in Pramoedya Ananta Toer’s perspective, equality between men and women is manifested in the partnership between men and women, that this partnership is applied in every aspect of lives, which is advanced-throught in Indonesian’s patriarchal society.

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40

Stetz, Margaret D., and Elizabeth A. Flynn. "Feminism Beyond Modernism." Tulsa Studies in Women's Literature 22, no. 1 (April 1, 2003): 203. http://dx.doi.org/10.2307/20059139.

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41

Longacre, Jeffrey S., and E. Ann Kaplan. "Feminism and Film." Tulsa Studies in Women's Literature 21, no. 1 (2002): 129. http://dx.doi.org/10.2307/4149221.

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42

Burroughs, Catherine, Sue-Ellen Case, and Lynda Hart. "Feminism and Theatre." Tulsa Studies in Women's Literature 9, no. 2 (1990): 326. http://dx.doi.org/10.2307/464232.

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43

Restuccia, Frances L., Alice Jardine, and Paul Smith. "Men in Feminism." Tulsa Studies in Women's Literature 6, no. 2 (1987): 348. http://dx.doi.org/10.2307/464283.

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44

Richardson, Angelique. "Biology and feminism." Critical Quarterly 42, no. 3 (October 2000): 35–63. http://dx.doi.org/10.1111/1467-8705.00307.

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45

Nelson, Cary. "Feminism, Language, and Philosophy." New Literary History 19, no. 1 (1987): 117. http://dx.doi.org/10.2307/469304.

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46

Horn, Pat. "Where Is Feminism Now?" Agenda, no. 26 (1995): 71. http://dx.doi.org/10.2307/4065926.

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47

Helford, Elyce Rae, and Sarah Lefanu. "Feminism and Science Fiction." SubStance 20, no. 2 (1991): 110. http://dx.doi.org/10.2307/3684975.

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48

Balsamo, Anne. "Feminism and Cultural Studies." Journal of the Midwest Modern Language Association 24, no. 1 (1991): 50. http://dx.doi.org/10.2307/1315025.

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49

Bowman, Mary R., and Lorna Hutson. "Feminism and Renaissance Studies." Journal of the Midwest Modern Language Association 34, no. 2 (2001): 120. http://dx.doi.org/10.2307/1315144.

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50

MILLS, S. "Feminism." Year's Work in Critical and Cultural Theory 1, no. 1 (January 1, 1991): 50–98. http://dx.doi.org/10.1093/ywcct/1.1.50.

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