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Journal articles on the topic 'Ngugi'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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1

Fox, Robert Elliot. "Engaging Ngugi." Research in African Literatures 34, no. 4 (December 2003): 115–28. http://dx.doi.org/10.2979/ral.2003.34.4.115.

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Fox, Robert Elliot. "Engaging Ngugi." Research in African Literatures 34, no. 4 (2003): 115–28. http://dx.doi.org/10.1353/ral.2003.0099.

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3

Ogude, James, and Simon Gikandi. "Ngugi wa Thiong'o." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 36, no. 2 (2002): 380. http://dx.doi.org/10.2307/4107218.

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4

Chakava, Henry. "Working with Ngugi." Logos 5, no. 4 (1994): 176–77. http://dx.doi.org/10.2959/logo.1994.5.4.176.

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5

Jackson, Kennell, and Simon Gikandi. "Ngugi wa Thiong'o." International Journal of African Historical Studies 34, no. 3 (2001): 680. http://dx.doi.org/10.2307/3097577.

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6

Babacar Diakhaté. "Cultural Diversity, Ethnocentrism and Terrorism in Mukoma WA Ngugi’s Black Star Nairobi (2013)." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 2 (May 30, 2020): 367–73. http://dx.doi.org/10.33258/biohs.v2i2.234.

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This article brings to light the obstacles that impede countries like Kenya to develop. In Black Star Nairobi, Mukoma WA Ngugi addresses cultural diversity issues and ethnic crisis. Like other African writers such as Chinua Achebe, Ngugi WA Thiong’o, Chimamanda Ngozi Adichie, Mukoma WA Ngugi displays to what extent Kenyans are tied to their cultures, traditions and ethnics. He demonstrates how ethnocentrism can have an impact on the socio-political activities of his people. He also pinpoints the drawbacks engendered by ethnocentrism like radicalization, terrorism and illegal immigration.
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7

Eyoh, Hansel Nolumbe. "2. Ngugi wa Thiong'o." Journal of Commonwealth Literature 21, no. 1 (March 1986): 162–66. http://dx.doi.org/10.1177/002198948602100118.

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8

Dumka, Bie Precious. "The African Writer and Commitment in Art: a Critical Discourse of Ngugi Wa Thiong’o’s Literature of Commitment, Social Vision and Stylistic Use of Satire in Matigari." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, no. 1 (February 9, 2018): 11. http://dx.doi.org/10.19085/journal.sijmas050102.

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<p>African writers like Ngugi Wa Thiong’o have not relented in their portraiture of the dehumanizing plights of the working class. Ngugi is a revolutionary writer conditioned by the colonial, post-colonial and neo-colonial socio-political and economic quagmire and experiences surrounding him, and as such he has no choice than to use art as an avenue of expressing his ideology and vision about the multifaceted problems as pictured in his society. This paper therefore, examines commitment in literature with particular focus on the Kenyan writer, Ngugi wa Thiong’o’s committed literature and social vision, his stylistic use of satire. The conceptual framework is Marxism using Ngugi’s Matigari. The study as a close textual analysis adopts the descriptive design.</p>
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9

Trivedi, Harish. "Ngugi wa Thiong'o in conversation." Wasafiri 18, no. 40 (December 2003): 5–10. http://dx.doi.org/10.1080/02690050308589858.

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10

Cloete, N. "Women and transformation: A recurrent theme in Head and Ngugi." Literator 19, no. 2 (April 30, 1998): 31–46. http://dx.doi.org/10.4102/lit.v19i2.520.

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This article evaluates, within the context of the increasingly important position assigned to African literature in general (and the novel in particular), the dominant roles played by Bessie Head and Ngugi through a focus on the significant contributions of these two writers concerning the theme of women and transformation. Although both authors put a high premium on wotnanism, showing themselves as champions of especially sexual and racial freedom for all women, their novels indicate different trends in their portrayal of this theme. Head, for instance, becomes increasingly autobiographical in her articulation of her female protagonists ’ struggle for freedom from oppression, while Ngugi tends to become increasingly politically biased in expressing his Marxist social, political and economic doctrines. This article furthermore examines the ways in which Ngugi and Head highlight different aspects of the discourse of female liberation, while also studying the dialogue of transformation and a sense of belonging. Finally, it remarks on Head's and Ngugi's aesthetic approaches to the discourse of women and transformation.
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11

Duodu, Cameron. "Secret party leads to arrests." Index on Censorship 15, no. 6 (June 1986): 18–19. http://dx.doi.org/10.1080/03064228608534114.

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12

Dayan-Herzbrun, Sonia. "Créoliser Marx avec Ngugi Wa Thiong’o." Journal of French and Francophone Philosophy 25, no. 2 (December 7, 2017): 45–53. http://dx.doi.org/10.5195/jffp.2017.827.

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13

Heligson, Robert, and G. D. Killam. "Critical Perspectives on Ngugi wa Thiong'o." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 20, no. 2 (1986): 296. http://dx.doi.org/10.2307/484886.

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14

Granqvist. "Ngugi wa Thiong'o in/and 2006." Research in African Literatures 42, no. 4 (2011): 124. http://dx.doi.org/10.2979/reseafrilite.42.4.124.

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15

Ngugi, Joel M. "Introductory Remarks by Joel M. Ngugi." Proceedings of the ASIL Annual Meeting 101 (2007): 133–35. http://dx.doi.org/10.1017/s0272503700025416.

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16

Ngugi wa Thiong'o and D. Venkat Rao. "A Conversation with Ngugi wa Thiongio." Research in African Literatures 30, no. 1 (1999): 162–68. http://dx.doi.org/10.1353/ral.2005.0098.

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17

Smith, Pamela Olubunmi, and G. D. Killam. "Critical Perspectives on Ngugi wa Thiong'o." World Literature Today 59, no. 4 (1985): 648. http://dx.doi.org/10.2307/40142145.

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18

Mwesigire, Bwesigye Bwa. "Righting land wrongs with the pen: The leadership of Ngugi wa Thiong’o and Ken Saro Wiwa." Leadership and Developing Societies 1, no. 1 (September 23, 2016): 29–57. http://dx.doi.org/10.47697/lds.3434700.

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This article analyses the leadership of Ngugi Wa Thiong’o and Ken Saro Wiwa in the protection of indigenous communities’ land rights in Kenya and Nigeria respectively. It uses a case study and ‘leadership as process’ approach to focus on events and actions by Ngugi and Saro Wiwa, alongside the Kamiriithu and Ogoni communities in 1976 – 1982 and 1990 - 1995, respectively. In the case of Kenya, the Kamiriithu community did not attain their land rights and other freedoms following the Ngugi-led activism. Instead, the Kenyan government turned to further repression of individual and collective rights. In Nigeria, Saro-Wiwa was hanged after a trial marred with irregularities. However, oil exploitation activities on land belonging to the Ogoni ceased. There has been progress in holding Shell legally accountable for environmental degradation and a study on the extent of damage done to the ecology has been undertaken. Both writers, despite different outcomes to their activism, played leadership roles in their communities’ struggle for land rights. Their creative writing abilities and achievements played a role in their emergence as leaders and strategies for leadership.
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19

YASSIN MOHD ABA SHAR’AR, Mohammed, and Chamaiporn BUDDHARAT. "THE KNACK OF NARRATION: A POST-COLONIAL CRITIQUE IN NGUGI WA THIONG’O’S WEEP NOT, CHILD." Ezikov Svyat volume 19 issue 2, ezs.swu.v19i2 (May 1, 2021): 74–84. http://dx.doi.org/10.37708/ezs.swu.bg.v19i2.9.

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The downfall of the European colonialism in the African and Asian colonies was not the end of the colonial hegemony, but the beginning of indirect imperial policies. In a unique narrative style, Ngugi has creatively fictionalized his anti-colonial stand through creating characters with Kenyan names to voice his resistance to colonization. The methodology of this study is descriptive analysis. The paper analyzes critically Ngugi’s novel Weep Not, Child and shows how he implemented different narrative techniques (e.g. free indirect narration, freewheeling narrative technique, and author surrogate) to depict the atrocities and aftermath of colonization. It explicates how Ngugi uses narration to liberate gradually the minds of his people and their land from the settlers through the decolonial styles of peaceful struggle and focus on education. Specifically, the paper elaborates how Ngugi, like many other post-colonial writers, resisted and challenged the neo-imperial forms over the previous colonies in the neo-colonial era. Ngugi’s novel sheds light on the impacts of colonialism which affected negatively not only Kenya, but also all the colonized nations.
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20

N'Gana, Yéo. "Uma tradução de Décoloniser l’esprit de Ngugi wa Thiong’o." Rónai – Revista de Estudos Clássicos e Tradutórios 6, no. 2 (December 17, 2018): 93–102. http://dx.doi.org/10.34019/2318-3446.2018.v6.23244.

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Este artigo objetiva, além de traduzir para o português, fazer uma longa contextualização de Décoloniser l’esprit, um depoimento concedido a Le Monde Diplomatique pelo professor e crítico literário queniano Ngugi wa Thiong’o. No depoimento, Ngugi critica veementemente a classe política africana destacando a necessidade de se repensar novas políticas, novas atitudes perante as línguas africanas para, a partir disso, se pensar um desenvolvimento real do continente. Pudemos, a partir dos trabalhos de Antunes (2018) e Omari (1985), perceber como as implicações políticas constituem um entrave real ao ideal ngugiano, legitimando, de alguma maneira, as críticas tecidas neste depoimento.
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21

Mwangi, Ewan. "Wizard of the Crow (Ngugi wa Thiong’o)." Tydskrif vir Letterkunde 44, no. 2 (February 26, 2018): 253–56. http://dx.doi.org/10.17159/2309-9070/tvl.v.44i2.4551.

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22

Williams, Patrick. "'Like wounded birds'?: Ngugi and the Intellectuals." Yearbook of English Studies 27 (1997): 201. http://dx.doi.org/10.2307/3509143.

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23

Tobias, Steven. "The Poetics of Revolution: Ngugi wa Thiong'o'sMatigari." Critique: Studies in Contemporary Fiction 38, no. 3 (April 1997): 163–76. http://dx.doi.org/10.1080/00111619.1997.10543173.

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24

Nnaemeka, Obioma, Chinyere Okafor, Pamela Smith, Omofolabo Ajayi-Soyinka, and Opportune Zongo. "Association of African Women Scholars (AAWS) Condemns the Rape of Njeeri Ngugi, Wife of Professor Ngugi wa Thiong'o." Black Scholar 34, no. 3 (September 2004): 80. http://dx.doi.org/10.1080/00064246.2004.11413275.

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25

Assensoh, A. B. "Justice in Africa: An Overview of Recent Injustice." Issue 15 (1987): 91–96. http://dx.doi.org/10.1017/s0047160700506076.

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“The fact is that detention without trial is not only a punitive act of physical and mental torture of a few patriotic individuals, but it is also a calculated act of psychological terror against the struggling millions. It is a terrorist program for the psychological siege of the whole nation. That is why the practice of detention from the time of arrest to the time of release is deliberately invested with mystifying ritualism. My arrest, for instance.”—Ngugi wa Thiong’o from Detained: A Writer’s Prison Diary.In the quotation above, Kenya’s Ngugi wa Thiong’o sums up the anguish of many Africans, writers, and non-writers alike. Because they address a national, and sometimes international, audience, writers are particularly prone to detentions without trial.
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26

Uneke Enyi, Amaechi, and Edwin Chiekpezie Orji. "Lexical Cohesion in Non-fictional Narrative as Discourse: A Study of Ngugi Wa Thiong’O’s Decolonizing the Mind." International Journal of Education and Literacy Studies 7, no. 3 (July 31, 2019): 83. http://dx.doi.org/10.7575/aiac.ijels.v.7n.3p.83.

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The study was a linguistic examination of the use of lexical cohesive devices in Ngugi Wa Thiong ’O’s Decolonising the Mind- an autobiography. The study was aimed at revealing how Ngugi - an African L2 writer, deployed lexical cohesive devices to achieve cohesion and coherence and how this has contributed to the meaning of his non- fictional essay. The study was guided by the theoretical framework of Halliday’s tripartite metafunctions of language: the ideational, the interpersonal and the textual, with closer inclination to the textual metafunction that deals with text creation. Cohesion is understood in this study as a textual strategy deployed in language use to unify sentences into a text (a unified whole), that renders the speech or writing both readable and meaningful. A total of 29 excerpts, selected from relevant sections of the essay were descriptively analysed. Our analysis revealed that Ngugi made effective use of lexical cohesive devices to tie his text together, thereby succeeded in passing his message clearly to his readers. Our findings also showed a preponderant use of reiteration (near synonym) - 13 times, and repetition -8 times, by the writer, probably to achieve emphasis. Other lexical devices deployed by the writer to achieve various textual and communicative functions include: antonyms 4 times; superordinate/hyponym, 2 times; and complementaries and co-hyponym, 1 each, in crafting his essay, in which he tells a real- life story of his people, his culture and his heritage. Ngugi, by his effective use of cohesive devices along paradigmatic and syntagmatic axis, has demonstrated that an African writer can also, through the medium of biographical writing, project, not only his ideology, but also the exultation of his people, his culture and his inheritance by a skillful and near – native use of the English language. The study made a case for a systematic teaching of cohesive devices at all levels of education as that will improve reading and comprehension and the aver all communicative competence of L2 learners of English.
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27

Ndour, Moustapha. "Narrative Realism at the Interplay of Traditionality and Modernity in Ousmane Sembene’s God’s Bits of Woods and Ngugi wa Thiong’o’s The River Between." International Journal of Comparative Literature and Translation Studies 7, no. 2 (April 30, 2019): 55. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.55.

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This paper articulates the interactions between a traditional and modern world as embodied by the colonizer and the colonized, focusing on Ousmane Sembène’s God’s Bits of Woods (1960) and Ngugi wa Thiong’o’s The River Between (1965). It argues that both narratives can be read as realist novels that counter the hegemonic power of the European empire. While Sembène engages in critiquing imperialism and its social and cultural effects in the West African community –Senegal, Mali and Niger – Ngugi concentrates on the internal problems of the Gikuyu as they respond to the contact with the Western culture. The essay claims that the sociopolitical agendas in these novels should be understood within the context of French and British colonial regimes concerned with finding a legitimizing basis and control in an era when social and political forces of the colonies were energetically asserting themselves.
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28

Rodrigues, Angela Lamas, and Ngugi wa Thiongo. "Beyond Nativism: An Interview with Ngugi wa Thiong'o." Research in African Literatures 35, no. 3 (2004): 161–67. http://dx.doi.org/10.1353/ral.2004.0074.

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29

Mphande, Lupenga. "Ngugi and the World of Christianity: A Dialectic." Journal of Asian and African Studies 39, no. 5 (October 2004): 357–78. http://dx.doi.org/10.1177/0021909604052844.

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30

Akingbe, Niyi. "Resisting Christian proselytizing in song: Metatheatricalizing land theft in Ngugi wa Thiong'o and Ngugi wa Mirii'sI will marry when I want." Muziki 11, no. 1 (January 2, 2014): 18–31. http://dx.doi.org/10.1080/18125980.2014.893089.

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31

Farred, Grant. "What weight can a language bear? Translatability and Ngugi wa Thiong'o." Bulletin of the School of Oriental and African Studies 81, no. 3 (October 2018): 425–37. http://dx.doi.org/10.1017/s0041977x18001040.

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AbstractUsing theorists such as Deleuze, Guattari and Heidegger, this essay is a critique of Ngugi wa Thiong'o's much publicized decision to write in Gikuyu rather than English, the language Ngugi condemns as the instrument of colonialism and its successor, neo-imperialism. In line with Deleuze and Guattari's argument that Kafka's work is best apprehended as the determination to make German bear the full weight of his “minor” (as a Czech Jew) experience, this essay elucidates the ways in which Ngugi's ostensibly political turn is unable to write what it means to live, in Deleuze and Guattari's phrase, “in another's language”. To live, that is, the experience of “dislocation” (a rubric which would include colonialism and the failures of African sovereignty, not least among them) from one's own language (however provisional and contingent such a claim on language always is) as the first – necessary – condition of making literature. Of making language bear the weight of the very experience it is intent on denying articulation.
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32

Mogoboya, M. "An Afrocentric Re-storying of Africa’s Struggle for Emancipation in Ngugi’s Selected Novels." Journal of African Languages and Literary Studies 2, no. 1 (April 1, 2021): 117–30. http://dx.doi.org/10.31920/2633-2116/2021/v2n1a6.

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The story of African liberation struggle has, over many years, been related in a colonial and neo-colonial manner by the imperial powers, with Africa delineated as a dark continent and Europe as a civilised one. This article, therefore, strives to disrupt this oppressive narrative by painting the correct version through Ngugi's A Grain of Wheat (1967) (AGW) and Matigari (1987). Kenya is used as a microcosm of the entire Africa in these novels. Furthermore, the study is a qualitative recounting of the African liberation struggle which is underpinned by Afrocentricity as an emancipatory theoretical strand. Purposive sampling, guided by exploratory research design, was employed to select the two texts by Ngugi because of their appositeness to the study. Narrative textual analysis was used to interpret the two novels as primary data. Ngugi conscientises Africans about their African liberation history in order for them to cultivate a true African identity (Biko,1978).
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33

Tasnim, Sumaiya. "Ideological Orientation of Ngugi Wa Thiong’o’s Petals of Blood." International Journal of English Literature and Social Sciences 4, no. 4 (2019): 1089–93. http://dx.doi.org/10.22161/ijels.4427.

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34

Sharma, Govind Narain. "Third world humanism: Munshi Premchand and Ngugi wa Thiong'o." World Literature Written in English 27, no. 2 (September 1987): 296–307. http://dx.doi.org/10.1080/17449858708589031.

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35

Afejuku, Tony. "Autobiography as history and political testament: Ngugi wa Thiongo'sDetained." World Literature Written in English 30, no. 1 (January 1990): 78–87. http://dx.doi.org/10.1080/17449859008589121.

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36

CHAKAVA, HENRY. "Publishing Ngugi: The Challenge, the Risk and the Reward." Matatu 15-16, no. 1 (April 26, 1996): 183–200. http://dx.doi.org/10.1163/18757421-90000187.

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37

Helgesson, Stefan. "Ngugi wa Thiong’o and the Conceptual Worlding of Literature." Anglia 135, no. 1 (March 1, 2017): 105–21. http://dx.doi.org/10.1515/ang-2017-0007.

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AbstractThe central claim of this article is that the Kenyan writer Ngugi wa Thiong’o, known above all for his advocacy of African-language writing, performs in his essays a conceptual worlding of literature that serves to diversify its semantic content and thereby enable the recognition and expanded production of otherwise marginalised literatures. The logic of this conceptual worlding is read through a cosmopolitan-vernacular optic, which presupposes that Ngugi’s interventions can neither be defined as ethnically particularist nor as expansively cosmopolitan. Rather, his approach 1) combines multiple literary ‘ecologies’, in Alex Beecroft’s sense, and 2) attempts to reroute the temporality of ‘literature’ so that it is no longer reducible to Eurochronology. What unites these interventions is that they both draw on and attempt to recalibrate ‘world literature’ as a symbolic value in response to a postcolonial predicament. Three texts provide the empirical focus of the article: the department circular “On the Abolition of the English Department” that Ngugi co-authored in 1968 with Taban Lo Liyong and Henry Owuor-Anyumba; the essay “Literature and Society”, first written in 1973; and “Memory, Restoration and African Renaissance”, which is the third chapter in Something Torn and New from 2009.
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38

Wilkinson, Jane. "Ngugi Wa Thiong'o and the struggle with the angel." European Journal of English Studies 2, no. 1 (April 1998): 49–65. http://dx.doi.org/10.1080/13825579808574404.

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39

Bala, Mustapha Ruma. "African Literature and Orality: A Reading of Ngugi wa Thiango’s Wizard of the Crow (2007)." Journal of English Language and Literature 3, no. 1 (February 28, 2015): 196–204. http://dx.doi.org/10.17722/jell.v3i1.39.

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This paper explores the relationship between orality and written literature in Africa. The paper interrogates the transformation of oral narrative into written texts and vice-versa. The paper specifically focuses on how Ngugi appropriates oral-narrative techniques commonly employed in African traditional societies in shaping the narration of events in this monumental novel. In this regard, the paper focuses on how the oral tradition in Africa influences the plot structure of Wizard of the Crow. The paper also looks at how Ngugi uses multiple narrators some of whom are observers as well as participants in unfolding the drama in the novel. These narrators, some of whom are categorically defined and the not well-defined, recount and render events happening in the novel orally in the presence of a live audience and in the process also embellish the story as they deem fit thereby rendering different versions of the same event The paper concludes with the observation that in spite of its being presented in the written medium of the novel, Wizard of the Crow indeed has generic resemblance to an extended oral narrative.
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40

Ukpokodu, I. Peter. "Theatre and Political Discord: Theatre Rebels of Zimbabwe and Kenya." Theatre Research International 23, no. 1 (1998): 38–43. http://dx.doi.org/10.1017/s0307883300018198.

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Though the world is aware of the political activities of the Nigerian playwright, Wole Soyinka, it might be difficult to find a better example of the relationship between a nation in a state of socio-political chaos and the arts in an African country than that of Ngugi wa Thiong'o's Kenya as exemplified in Matigari:Matigari, the main character [in Ngugi wa Thiong'o's Matigari], is puzzled by a world where the producer is not the one who has the last word on what he has produced; a world where lies are rewarded and truth punished. He goes round the country asking questions about truth and justice. People who had read [Matigari] started talking about Matigari and the questions he was raising as if Matigari was a real person in life. When Dictator Moi [President of Kenya] heard that there was a Kenyan roaming around the country asking such questions, he issued orders for the man's arrest. But when the police found that he was only a character in fiction, Moi was even more angry and he issued fresh orders for the arrest of the book itself.
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41

Hyo-Seok Lee. "Ngugi wa Thiong'o's Cultural Theory and Its Significance in Translation." Cross-Cultural Studies 46, no. ll (March 2017): 411–34. http://dx.doi.org/10.21049/ccs.2017.46..411.

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42

Crehan, Stewart. "The politics of the signifier: Ngugi wa Thiong'o'sPetals of Blood." World Literature Written in English 26, no. 1 (March 1986): 1–24. http://dx.doi.org/10.1080/17449858608588955.

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43

Johnson, Joyce. "A note on “Theng'eta” in Ngugi wa Thiong'o'spetals of blood." World Literature Written in English 28, no. 1 (March 1988): 12–15. http://dx.doi.org/10.1080/17449858808589037.

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44

Lovesey, Oliver. "Writing the female subject: Ngugi wa Thiong'o's post‐colonial discourse." World Literature Written in English 32, no. 2 (June 1992): 151–60. http://dx.doi.org/10.1080/17449859208589199.

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45

Coulson, Andrew. "Ngugi wa Thiong'o Petals of Blood, Heinemann African Writers Series." IDS Bulletin 10, no. 1 (May 22, 2009): 47–48. http://dx.doi.org/10.1111/j.1759-5436.1978.mp10001015.x.

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46

Arif, Kawan Othman, and Hemn Salahalddin Esamalddin. "Curse and Blessing: A Postcolonial Study of Ngugi wa Thiong’o’s The River Between." Journal of Zankoy Sulaimani Part (B - for Humanities) 20, no. 3 (January 30, 2000): 635–48. http://dx.doi.org/10.17656/jzsb.10930.

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47

Antunes, Maria Alice Gonçalves. "Self-Translation and Exile: A Study of the Cases of Ngugi Wa Thiong’o and Ariel Dorfman." Cadernos de Tradução 38, no. 1 (January 6, 2018): 127–45. http://dx.doi.org/10.5007/2175-7968.2018v38n1p127.

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In this article, we focus on the trajectories of exiled writers who act as self-translators and as “individuals who act purposefully in a social context” (Palumo 2009, 9). We discuss the extent to which exile has paved the way for self-translation and also transformed those exiled writers into individuals who act as self-translators, “ambassadors, agents” (Grutman and Van Bolderen 2014, 325) in the USA, “constantly fighting […] to restore [their] significance” (Brodsky 1994, 5). For the purposes of this study, we focus on the cases of the Kenyan novelist, Ngugi wa Thiong’o and of the Argentine-Chilean-American novelist and playwright, Ariel Dorfman. Both Ngugi and Dorfman have, in different ways, been forced out of their home countries, they have sought exile in the USA, and they have written and translated into (and out of) English throughout their lives. Our analysis of these two cases will use an adapted version of John Glad’s multidimensional model of the process of literary creation of exiled writers. By analyzing both these cases through an adapted version of Glad’s model, we hope to contribute to the discussion on self-translation and on exile as a fact that affects this activity directly and in different ways.
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48

Alazzawi, Ahmad Jasim Mohammad. "A Feminist Perspective in Ngugi Wa Thiong’s Novel “Petal of Blood”." International Journal of English Literature and Social Sciences 3, no. 5 (2018): 849–53. http://dx.doi.org/10.22161/ijels.3.5.27.

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49

Mclaren, Joseph. "Ngugi Wa Thiong'O'S Moving the Centre and its Relevance to Afrocentricity." Journal of Black Studies 28, no. 3 (January 1998): 386–97. http://dx.doi.org/10.1177/002193479802800307.

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50

Lee, Seok-Ho. "Ngugi Wa Thiong'o's Postcolonial Orality: Towards a New Poetics of Drama." International Area Review 2, no. 2 (September 1999): 153–74. http://dx.doi.org/10.1177/223386599900200209.

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