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1
Smart, Kirsten. "National consciousness in Postcolonial Nigerian children's literature." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22880.
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This project highlights the role of locally produced children's written literature for ages six to fourteen in postcolonial Nigeria as a catalyst for national transformation in the wake of colonial rule. My objective is to reveal the perceived possibilities and pitfalls contained in Nigerian children's literature (specifically books published between 1960 and 1990), for the promotion of a new national consciousness through the reintegration of traditional values into a contemporary context. To do this, I draw together children's literature written by Chinua Achebe, Cyprian Ekwensi and Mabel Segun in order to illustrate the emphasis Nigerian children's book authors writing within the postcolonial moment placed on the concepts of nation and national identity in the aim to 'refashion' the nation. Following from this, I examine the role of the child reader in relation to the adult authors' intentions and pose the question of what the role of the female is in the authors' imagining of a 'new nation'. The study concludes by reflecting on the persistent under-scrutiny of children's literature in Africa by academics and critics, a preconception that still exists today. I move to suggest further research on the genre not only to stimulate an increased production of children's literature more conscious in content and aware of the needs of its young, (male and female) African readership, but also to incite a change in attitude toward the genre as one that is as deserving of interest as its adult counterpart.
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Mgbeadichie, Chike Francis. "The critical concept of Afrocentrism in Nigerian literature." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21088.
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Since the early 1960s, Afrocentrism has been developed as a theory that resists forms of marginalisation of African peoples, places African culture at the centre of inquiry, and promotes African peoples as subjects rather than objects of humanity. However, as this thesis sets out to show, this theory has gained more ground as an anti-Eurocentric theory that liberates Africans from the margins of western domination and colonization. This project intends to challenge this limited critique of Afrocentrism. In ‘Afrocentrism: The Argument We’re Really Having’ [American Historical Review, 30 (1996), 202-39], Ibrahim Sundiata, a leading Afrocentrist, argues that ‘any theoretical move directed at erasing inscriptions of inequality, marginalisation and subjugation of any kind among African peoples could be classified as a version of the Afrocentric impulse.’ Extending Sundiata’s argument, this thesis situates the criticism of three insidious Nigerian traditions which marginalise and subjugate fellow Nigerians as Afrocentric discourse: i) the marginalisation of women, ii) the Osu caste system, and iii) the Oro festival and the tradition of ritual suicide. This project will redefine the theoretical concept of the Afrocentric discipline as a discourse that challenges both external and, importantly, internal forces of oppression in Africa. The study is divided into three chapters. The first examines and situates the discourse of Womanism in Flora Nwapa’s Efuru and Idu as an Afrocentric discipline. It exposes the sufferings and marginalisation of women in patriarchal Nigerian society. Through a critical evaluation of Nwapa’s use of myth, meta-fiction and, borrowing from Siga Jajne’s study, what I call ‘voice-throwing’ [‘African Women and the Category ‘WOMAN’ in Feminist Theory’ Proceedings at the Annual Conference of the African Literature Association, Ohio, March, 1995], I demonstrate how Nwapa creates a new world and an escape route for Nigerian women. If Afrocentrism is a discourse that offers a space to eradicate inequality of any kind within the African community, the critique of the subjugation of women in Nigeria, I argue, might be understood as a part of Afrocentrism. The second chapter attempts to critically analyse Chinua Achebe’s challenge of the Igbo tradition of the Osu caste system in Things Fall Apart and No Longer at Ease as an Afrocentric discourse. It analyses Achebe’s use of the literary technique of dualism and the critical engagement with questions of ‘form’ in his challenge of the Osu system. Through a close reading of these texts, I analyse Achebe’s position of the role of the intellectuals, the ‘voiceless’ situation of the Osu in Things Fall Apart, and the ‘voice-consciousness’ of the Osu in his short story, ‘Chike’s School Days.’ From the outset, this chapter maintains that Achebe’s first and second novels are criticial to the challenge of the Osu system. This is what makes these texts Afrocentric. The final chapter analyses Afrocentric interventions into the debilitating traditions of the Oro festival and ritual suicide in Adaora Ulasi’s Many Thing You No Understand, Wole Soyinka’s Death and the King’s Horseman and Duro Ladipo’s Oba Waja (The King is Dead). While there are continued practice of some traditional customs and social structures that oppress, marginalise and displace Africans, this thesis shows that there is need to redefine and extend the Afrocentric paradigm as a theory that critically challenges any internal system of oppression in Africa. Theorizing Afrocentrism in this way will therefore address the challenges of twenty-first century Africa.
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Ozumba, Kachi A. "Incarceration in Nigerian and British literature : creative and critical works." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539082.
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Ney, Stephen. "Ancestor, book, church : how Nigerian literature responds to the missionary encounter." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/26235.
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Ancestor, Book, Church reinserts into Nigerian literary history the texts generated by the nineteenth-century Anglican missionary incursion into Yorubaland, in the southwest of today’s Nigeria. I demonstrate how these early texts – in Yoruba and in English, written by Europeans and by Africans – and the histories and modes of thought that they reflect can be used as resources for understanding contemporary African literatures. Thus I argue against those who would dismiss the missionary text as absolutely foreign to and the missionary encounter as strictly an interruption of an “authentic” African cultural history.
In much of Nigeria during the nineteenth and earlier twentieth centuries the first literacy training was provided by missionaries, whose goal in teaching the ABCs was typically to lead indigenous people away from ancestral beliefs, through books, to the church. Yet this ideal linear sequence is inadequate as a description of what was in practice a complex, dialogical process. Sometimes the education and technologies associated with books enabled writers to reconfigure and revivify ancestral beliefs, to incorporate them into a revised form of Christianity, or to turn towards secularity. In all cases, I argue, literature in Nigeria engaged and engages with the legacy of missionary Christianity. I find evidence for this engagement not only in the contextual and thematic dimensions of literary texts but also, and especially, in a mode of signification exemplified by the English missionaries’ favourite fictional text, The Pilgrim’s Progress, a translation of which was also the first work of extended fiction to be written in Yorubaland.
Ancestor, Book, Church reads nineteenth-century missionary texts and twentieth-century literary texts together as instances of the ways that Nigerians think and believe. It builds therefore upon research by anthropologists and scholars of religions, which it presents in the first chapter, and then moves into a literary analysis, informed by postcolonial theory, of the Nigerian writers Samuel Ajayi Crowther, D. O. Fagunwa, Amos Tutuola, and Wole Soyinka.
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Sáes, Stela. "Chinua Achebe e Castro Soromenho: compromisso político e consciência histórica em perspectivas literárias." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-13022017-140542/.
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No exercício de comparativismo literário entre as obras Things fall apart, do escritor nigeriano Chinua Achebe (1958), e Terra morta, do angolano Castro Soromenho (1949), é possível estabelecer aproximações e distanciamentos que dialogam entre si e podem trazer reflexões relevantes para o estudo das literaturas africanas. Enquanto a primeira oferece uma visão inédita a respeito do funcionamento interno da sociedade Ibo na Nigéria diante da situação colonial, a segunda transparece as frágeis relações dos colonos portugueses nas instituições políticas, econômicas e sociais do império na região da Lunda em Angola. Já por esse aspecto, os romances convergem para um panorama em comum ao apresentarem tanto o colonizado em Things fall apart quanto o colonizador em Terra morta de maneira distante dos estereótipos retratados pelas figuras coloniais, justamente por problematizarem questões internas e clivagens sociais e históricas. Assim, ao evidenciaram as fraturas internas, contribuem com a crítica sobre o sistema colonial ao mesmo tempo em que ajudam a construir outras visões históricas sobre o tema. Desse modo, as duas obras distanciam-se abertamente quanto aos contextos coloniais, que exigem, diante de uma leitura comparativa, um arcabouço teórico-crítico múltiplo que abarque as diferenças existentes nas dinâmicas coloniais e em seus contextos africanos específicos. O fato de os dois romances trazerem à cena regiões específicas na Nigéria habitada pelo povo Ibo e em Angola determinada como o espaço Lunda - e apresentarem uma multiplicidade de questões étnicas, raciais, sociais e identitárias, acaba distanciando os dois livros em perspectiva comparatista. Em termos aproximativos, no entanto, a problematização dos espaços e personagens retratados nas narrativas e a figura do narrador que assume posições políticas que se aproximam da categoria do autor implícito (BOOTH, 1983), permitem também uma leitura analítico-comparativa entre os romances. Se, por um lado, os contextos sociais e históricos distanciam os escritores e seus produtos literários; os romances se aproximam não apenas pelas categorias narrativas de personagens e espaço, mas também pela posição político-ideológica assumida por seus narradores. A consciência histórica e o compromisso político diante dos fatos narrados estão presentes na representação literária como uma tentativa de entender o funcionamento e apresentar uma crítica aos diferentes processos coloniais.<br>In the exercise of literary comparison between the novels Things fall apart, of the nigerian writer Chinua Achebe (1958), and Terra Morta, of the Angolan writer Castro Soromenho (1949), its possible to establish similarities and differences that interact with each other and can evoke important reflections for the african literatures study. While the first novel offers an unprecedented vision concerning the inner functioning of the Ibo nigerian society on the colonial situation, the second exposes the fragility of Portuguese settlers in the political, economic and social institutions of the potuguese empire in the region of Luanda, Angola. About this last aspect, the novels converge into a common panorama when presenting an image of the settler that does not fall into a stereotypical perspective of that category, precisely by problematizing inner questions and social and historical cleavages. By exposing the inner fractures of the Angolan society, both novels contribute by criticizing the colonial system and, at the same time, helping to construct other historical visions about the issue. Therefore, both novels deviate from each other when presenting different colonial contexts that require, in terms of a comparative reading, a multiple theoretical and critical framework able to contemplate the differences observed in the colonial dynamics and in its african specific contexts. The fact that both novels bring into discussion two specific regions the Nigeria inhabited by the Igbo people and the Angola established as the Lunda space and present a multiplicity of social, racial and ethnic issues result in a detachment of the novels by comparative means. However, in approximate means, the problematization of spaces and characters portrayed in the narratives and the role of the narrator, who assumes political positions similar as the implied author category (Booth, 1983), also permit an analytical-comparative reading between the two novels. If, in one side, the social and historical contexts set apart the writers and its literary products, the novels are get closer not only by means of space and narrative categories, but also in terms of political and ideological positions assumed by its narrator. The historical conscience and the political commitment concerning the themes addressed in the novels are shown in the literal representation as an attempt to understand and present a critique to the different colonial processes.
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Carbonieri, Divanize. "Hibridismo e simultaneidade no romance \'The famished road\', de Ben Okri." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08112007-144812/.
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No romance The Famished Road (1991), o autor nigeriano Ben Okri dá uma nova dimensão à figura da criança-espírito ou abiku, que é um motivo recorrente entre os iorubás e em diversas outras culturas da África ocidental. Como um fenômeno da crença dessas culturas, o abiku é um tema característico da narrativa oral africana, tendo sido usado também em várias obras da literatura africana de língua inglesa. Okri realiza, contudo, uma inovação ao transformar o abiku no narrador de seu romance. Uma vez que essa criatura é um in between, vivendo permanentemente na intersecção entre o mundo dos vivos e o dos mortos, a estrutura da obra literária é alterada pela realidade vista pelos seus olhos. A sua visão é composta pelas imagens da simultaneidade entre esses mundos. Na construção de seu romance, Okri tenta traduzir essa visão para um público leitor ocidental, utilizando ao mesmo tempo paradigmas da oralidade africana e da literatura ocidental. O romance se coloca, assim, num espaço de transição entre a cultura africana e a ocidental. São utilizados métodos e estratégias narrativas de ambas as tradições e o próprio fenômeno do abiku é investido por outras concepções mais ocidentais a respeito da ressurreição da alma. O objetivo desta dissertação é mostrar, de acordo com uma perspectiva crítica pós-colonial, como esse romance se constrói como uma obra híbrida entre os modos de se perceber e de se retratar a realidade característicos de cada uma dessas culturas.<br>In the novel The Famished Road (1991) Nigerian author Ben Okri gives a new dimension to the spirit child or abiku\'s image, which is a recurrent motif among the Yoruba and many other cultures from West Africa. The abiku is a characteristic subject of the African oral narrative and is also present in some African literature in English as the abiku is part of the belief of those cultures. However, Okri undertakes an innovation, turning the abiku into the narrator of his novel. Since this creature is an in between, living permanently in the intersection between the world of the living and the world of the dead, the structure of the literary work is altered by the reality as it is seen through his eyes. His vision is made up by the simultaneous images of those two worlds. In the construction of his novel, Okri tries to translate this vision to a Western reading audience, using paradigms from both the African orality and Western literature. Thus, the novel is placed in a transitional space between African and Western cultures. Narrative methods and strategies from both traditions are used and the abiku phenomenon itself is invested by other more Western conceptions about the soul\'s resurrection. This dissertation aims to reveal from a postcolonial theoretical perspective how this novel is constructed as a hybrid work between the modes of perceiving and depicting reality characteristic of each one of these cultures.
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Raji, Moshood Gbola Adeniyi. "A modern trend in Nigerian Arabic literature : the contribution of 'Umar Ibrahim." Thesis, SOAS, University of London, 1986. http://eprints.soas.ac.uk/29399/.
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This thesis is a research into the growth in Nigeria of Modern Arabic Literature, from the impact of modern secular thought on the medieval Arabic-Islamic literary tradition. In chapter one the spread to Nigeria of Islam and the growth within its cultural context of Arabic literature are discussed in the light of the classical Arabic literary theory. Cultivated as an integral part of Islamic traditional sciences, Arabic literature throughout its development in Nigeria had remained the function of Islamic religion. All the literary men were essentially Muslim jurists (al-fuqaha') writing in a sacred medium. The various aspects of this religious literary tradition, al-taqlid, are described with illustrations in chapter two. In chapter three the process of how modern European literature had given birth in Egypt and Greater Syria to Modern Arabic Literature, and its major currents are described. Thus inspired, Modern Arabic Literature is not Islamic but Arab nationalist oriented with very little to offer the non-Arab Muslims in the name of the Islamic Commonwealth. The non-Arab Muslims have accordingly embarked on developing their own national literature in English, French or a vernacular. This phenomenon, seen in Turkey, Iran and Senegal is also demonstrated in Nigeria by the birth of modern Hausa literature instead of Arabic. This development is discussed in chapter four within the context of the Western cultural impact on Islamic Nigeria. But the study of Arabic and Islamic religion in secular institutions imposed by modern political order has begun to challenge the existing religious literary tradition. Nigeria has now produced some Arabists, including Christians, in whose literary innovations Arabic language and literature is no longer an exclusive function of Islamic culture. Influenced by neo-classical Arab writers, the most outstanding contribution to this new trend is the diwan (anthology) of 'Umar Ibrahim, the literary exposition of which is made in chapter five. In conclusion, the scope of the literary innovations introduced into Nigerian Arabic literature is highlighted with an attempt to determine its prospect.
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Asagba, O. A. "Festival drama : Aspects of continuity and change in contemporary Nigerian theatre." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372955.
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Bonson, Anita M. J. "The concept of development in adult education literature : Nigerian and Jamaican perspectives, 1976-1986." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28151.
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Over the last few decades, adult education literature has indicated an increasing interest in the topic of national development. However, in general this literature's conceptualization of "development" is unclear, since it rarely analyses the concept within any explicit frameworks. One purpose of this study was therefore to bring more clarity to the discussion of development as it relates to adult education. An examination of literature on development thought and on the development/education relationship indicated some reflection by the latter of shifts in development perspectives, though the coincidence was by no means exact. Overall, a shift away from the advocation of a linear, Eurocentric development model focussed on economic growth towards more indigenous-based conceptualizations and a greater emphasis on equality was noted. However, this was by no means complete or universal.
Because of the suggestion that indigenous approaches to development are likely more relevant, a second purpose was to deepen understanding of the development/adult education relationship through an examination of its conceptualization in the adult education literature of a specific context—that of West African and Caribbean English-speaking nations. A hermeneutic approach was used to interpret selected literature from Nigeria and Jamaica (considered exemplary of the two regions of the context). The four main questions addressed to the literature were concerned with the emphasis on: literacy education; consistency of national and adult educational goals; reducing inequality; and the need for structural change.
It was found that literacy education was accorded much importance, as was the necessity of harmonizing adult educational with national objectives. Neither inequality nor structural change was emphasized, and consideration of both was most often indirect. Little autonomy for adult education was indicated.
Since the differences between the two sub-contexts seemed as numerous as the similarities, and since none of the existing development or development/education frameworks seemed totally adequate to either, the importance of indigenous approaches seemed to be confirmed. However, the persistent influence of Western development values and goals (particularly modernization) was also very evident in the literature. This suggested a tension between the more recent trend to indigenous approaches and the continuing pervasiveness of Western models. Further exploration of the nature and effects of this tension was therefore suggested.<br>Education, Faculty of<br>Educational Studies (EDST), Department of<br>Graduate
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McCabe, Douglas Anthony. "'Born-to-die' : the history and politics of abiku and ogbanje in Nigerian literature." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406992.
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Yerimah, Ahmed Parker. "Changes in the Nigerian theatre, with special attention to four post-Soyinkan playwrights." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/7cd5ae30-676d-4de8-b07d-9e1c09efdd55/1/.
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The thesis examines the main conventions governing traditional Nigerian entertainment and the development of these conventions under influences from Western drama. Wole Soyinka's development of these conventions is considered along with his influence on present day play-wrights. The main section of the thesis is concerned with the further evolution of Nigerian theatrical conventions by four playwrights; Zulu Soiola, Wale Ogunyemi, Femi Osofisan and Bode Sowande. The discussion is presented in three parts. In the first chapter, there is a recapitulation and evaluation of the conventions which emerged from traditional Nigerian entertainment by the late 18th and early 19th centuries. The second section consists of two chapters: the first is concerned with the period when there was strong western influence on modern Nigerian drama through the University College at Ibadan, the chapter on Wole Soyinka that follows is concerned with the further evolution of theatrical convention in his drama, the third and major section of the thesis examines the present day development of Nigerian theatrical convention through an analysis of the techniques of the four playwrights; Zulu Sofola, Wale Ogunyemi, Femi Osofisan and Bode Sowande. The material in the thesis includes accounts of interviews with Soyinka, and the four playwrights. It is hoped that this material which has not previously been collected will prove valuable to students of modern Nigerian drama. The aim of the thesis is to provide knowledge, analyse conventions and techniques and stimulate interest in Nigerian drama, particularly, that developed after Soyinka1s successes in the sixties.
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Ette, Mercy. "Does the Nigerian press support democracy? : an analysis of press coverage of political transition programmes." Thesis, University of Leeds, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268648.
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Smit, Willem Jacobus. "Becoming the third generation: negotiating modern selves in Nigerian Bildungsromane of the 21st century." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2335.
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Thesis (MA (English))--University of Stellenbosch, 2009.<br>ENGLISH ABTRACT: In recent years, original and exciting developments have been taking place in Nigerian literature. This new body of literature, collectively referred to as the ―third generation‖, has lately received international acclaim. In this emergent literature, the negotiation of a new, contemporary identity has become a central focus. At the same time, recent Nigerian literary texts are articulating responses to various developments in the Nigerian nation: Nigeria‘s current political and socio-economic situation, diverse forms of cultural hybridisation, as well as an increasing trans-national consciousness, to mention only a few. Three 21st-century novels – Chimamanda Nogzi Adichie‘s Purple Hibiscus (2004), Sefi Atta‘s Everything Good Will Come (2004) and Chris Abani‘s GraceLand (2005) – reveal how new avenues of identity-negotiation and formation are being explored in various contemporary Nigerian situations.
This study tracks the ways in which the Bildungsroman, the novel of self-development, serves as a vehicle through which this new identity is articulated. Concurrently, this study also grapples with the ways in which the articulation and negotiation of this new identity reshapes the conventions of the classical Bildungsroman genre, thereby establishing a unique and contemporary Nigerian Bildungsroman for the 21st century.
The identity that is being negotiated by the third generation is multi-layered and inclusive, as opposed to the exclusive and unitary identities which are observable in Nigerian novels of the previous two generations. Such inclusivity, as well as the hybrid environments in which this identity is being negotiated, results in a form of ―identity layering‖. Thus, the individual comes into being at the point of intersection, overlap and collision of various modes of self-making. Such ―layering‖ allows the individual, albeit not without challenge, to perform a self-styled identity, which does not necessarily conform to the dictates of society. At the same time, the identity is negotiated by means of an engagement, in the form of intertextual dialoguing, with Nigeria‘s preceding literary generations.
The most prominent arenas in which this new identity is negotiated include silenced domestic spaces, religo-cultural traditions, constructs of gender and nation, as well as in multicultural and hybrid communities. The investigation conducted in this thesis will, consequently, also focus on such areas of Nigerian life, as they are portrayed in the focal texts. Various theories of literary analysis (some of which specifically focus on Nigeria), Bildungsroman theory, theories of allegory, (imaginative) nation formation, feminism, gender and performativity, as well as theories of cultural identity and cultural exchanges, will form the critical and theoretical framework within which this investigation will be executed.
Chapter One explores how Purple Hibiscus‘s protagonist, Kambili Achike, negotiates her gender identity and voice in order to constitute herself as an independent, self-authoring individual. Chapter Two, which focuses on Everything Good Will Come, investigates the dialectic relationship between Enitan Taiwo‘s national and personal identity, which inevitably leads to her quest to reconceive her gender identity, since national identity, as she finds out, is always an engendered construct. In its analysis of GraceLand, Chapter Three turns to the difficulties that Elvis Oke faces when he attempts to negotiate an alternative masculine identity within a rigid patriarchal system and between the cracks of a fraudulent African modernity.<br>AFRIKAANSE OPSOMMING: In die afgelope paar jaar was daar opwindende, oorspronklike ontwikkelinge in Nigeriese literatuur. Hierdie nuwe literatuurkorpus, wat gesamentlik bekend staan as die ―derde generasie, het onlangs internasionale erkenning ontvang. In hierdie opkomende literatuur, kry die soeke na 'n nuwe, kontemporêre identiteit ‘n sentrale fokus. Terselfdertyd reageer onlangse Nigeriese literêre werke met verskeie ontwikkelinge in die Negeriese nasie: Nigerië se huidige politieke en sosio-ekonomiese situasie, diverse vorme van kultuurverbastering asook 'n toenemende trans-nasionale bewustheid, om maar ‘n paar te noem. Drie 21ste eeuse romans – Chimamanda Nogzi Adichie se Purple Hibiscus (2004), Sefi Atta se Everything Good Will Come (2004) en Chris Abani se GraceLand (2005) – onthul hoe nuwe kanale van identiteidsonderhandeling en –vorming in verskeie kontemporêre Nigeriese situasies ondersoek word.
Hierdie studie ondersoek die maniere waarop die Bildungsroman, die roman van selfontwikkeling, as ‗n medium dien waardeur hierdie nuwe identiteit geartikuleer word. Terselfdertyd sal hierdie studie ook worstel met die maniere waarin die artikulasie en soeke na hierdie nuwe identiteit die konvensies van die klassieke Bildungsroman genre hervorm, en daardeur 'n unieke en kontemporêre Nigeriese Bildungsroman vir die 21ste eeu vestig.
Die identiteit wat ontwikkel deur die derde generasie is veelvlakkig en inklusief en staan teenoor die eksklusiewe, eenvormige identiteite wat in Nigeriese romans van die vorige twee generasies opgemerk word. Hierdie inklusiwiteit, sowel as die hibriede omgewings waarin hierdie identeite ontwikkel word, lei tot die vorming van identiteitslae. Die individu kom dus tot stand by die kruising, oorvleueling en botsing van verskillende metodes van selfvorming. Hierdie vorming van lae laat die individu toe, alhoewel nie sonder uitdagings nie, om 'n selfgevormde identiteit te hê wat nie noodwndig aan die eise van die gemeenskap voldoen nie. Terselfdertyd word hierdie identiteit onderhandel deur ‗n skakeling met Nigerië se voorafgaande literêre generasies in die vorm van intertekstuele dialoog.
Die mees prominente omgewings waar hierdie nuwe identiteit onderhandel word, sluit stilgemaakte huishoudelike spasies, religieus-kulturele tradisies, konstrukte van gender en nasie, sowel as multi-kulturele en hibriede gemeenskappe in. Die ondersoek wat in hierdie tesis uitgevoer sal word, sal daarom ook fokus op hierdie areas van Nigeriese lewe, soos deur die fokale tekste voorgestel. Verskeie teorieë van literêre analise (sommige wat spesifiek op Nigerië fokus), Bildungsromanteorie, teorieë van allegorie, (denkbeeldige) nasievorming, feminisme, gender en performatiwiteit, sowel as teorieë van kultuuridentiteit en -uitruiling, vorm die kritiese en teoretiese raamwerk waarbinne hierdie ondersoek uitgevoer sal word.
Hoofstuk een ondersoek hoe Purple Hibiscus se protagonist, Kambili Achike, haar genderidentiteit onderhandel en uitdrukking gee om haarself as onafhanklike, self-skeppende individu te vorm. Hoofstuk twee, wat fokus op Everything Good Will Come, ondersoek die dialektiese verhouding tussen Enitan Taiwo se nasionale en persoonlike identiteit, wat onvermydelik lei tot die herbedenking van haar genderidentiteit, aangesien nasionale identiteit, soos sy uitvind, altyd 'n gekweekte konstruk is. In sy analise van GraceLand, draai Hoofstuk drie om die moeilikhede wat Elvis Oke in die gesig staar wanneer hy probeer om ‘n alternatiewe manlike identiteit te onderhandel in 'n rigiede patriargale sisteem tussen krake van 'n bedrieglike Afrika-moderniteit.
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Abatan, Adetutu Abosede. "Cultural perspectives and adolescent concerns in Nigerian young adult novels." Diss., Virginia Tech, 1994. http://hdl.handle.net/10919/40308.
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Multicultural literature is a very important tool in today's classrooms because it enables teachers and students to learn about the practices, historical background for attitudes, norms and customs of other cultures and peoples.<br>Ph. D.
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Malam, M. N. "On the establishment of a new information order in Africa : a study of PANA, Nigerian newspapers and journalists." Thesis, City, University of London, 1993. http://openaccess.city.ac.uk/17611/.
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The global information and Communications debate has not only grown in importance but has also carved out a new area of international relations and study, i.e information diplomacy. In the past most attention and studies have been devoted to the imbalance in the flow of news, data and information between Western nations (considered as the most information developed) and the Third World (regarded as less information developed) • However, this study attempts to argue that information imbalance and inequality within and between the Africa and the Western countries is not only an external problem but also an internal (African) one because of socioeconomic inequalities and the problem of national elites. Chapter I discusses the 'information explosion', the channels of (Western) international news flow and the NWICO debate. It presents the main issues, participants and critique of the (NWICO) debate. Chapter II is a discussion of the media in Africa, in comparison with those in the industrialised countries, highlighting on the gaps between them and those of the developed countries. Chapter III analyses various aspects. of the MacBride Commission its composition, mandate, report and recommendations. The Commission's submissions seemed to fit t~e description given them as 'vague general consensus' which ~1d not offend any major participants (particularly Western) 1n the debate. Sharing similar goals with the NWICO, it is suggested that Third World national agencies and News Exchange Mechanisms like PANA, were not established on a sound footing because of the former's (NWICO's) loopholes. Chapter IV introduces the methodology used in the study. These include field interviews, participant observation, secondary materials and content analysis. Chapter V presents the various types of news agencies, with more detailed attention on PANA. PANA' s editorial and organizational structure are discussed as well as other issues (telecommunication, financial, etc) relating to the agency, particularly in the context of its (PANA'S) goals to establish a new information order in Africa. Chapters VI and VII are content analyses of the news chemistry of PANA and some selected Nigerian newspapers respectively. A number of similarities especially with regard to core news values and character were discovered in the news bulletins of the two sets of African media. Separately and jointly the news values of these two media are not found to provide 'alternative' news or information which focus on non-dominant news centres, topics and actors. Chapter VIII presents data testing the awareness of PANA among Nigerian Journalists. It suggests that the respondents' awareness of PANA's services is low, meaning that even if the agency's stories are an alternative to the existing information order, its impact (among Nigerian journalists) in reporting Africa is yet to be felt. In chapter IX imbalances and bias in the news of PANA and the studied newspapers, favouring power holding groups in society, are explained using various levels of explanation. These include political and economic inequalities within and between Africa and the West, allocative, managerial and editorial control patterns, the global spread of Western news production practices, media organizational structures (which are hierarchical) and the socialization and training of journalists into routine media practices and values. It is argued that media (in particular PANA and the newspapers) output also contribute to the maintenance of the status quo. Finally, Chapter X is a general conclusion chapter. Apart from summarizing the main findings in the study, it argues that though developing countries attempt to produce their own news and lessen their dependence on foreign (Western) agencies, the problems of imbalance and bias still manifest themselves in their news. It contends that the main problem seems to be the synchronization of African media to the news production values and practices of Western countries as a consequence of their integration into the global capitalist system.
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Weaver, Kristina N. "Sayling, stories from the mothership: narrating political geographies of Nigerian campus cultism." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1512/.
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"Sayling, Stories from the Mothership" is a collection of ethnographic fictions ? short stories ? adapted from notes, archival materials, and interviews compiled over a year of geographic fieldwork in southwestern Nigeria. Touching on a wide range of themes, from domesticity to internet fraud, the stories explore the interface of occult violence and youth politics in the contemporary period. They are connected through overlapping characters and through their relationships to a central geography: the University of Ibadan (UI), Nigeria?s oldest and most prestigious institute of higher education and the site of origin for the nation?s first campus ?cult?: the Pyrates Confraternity. The collection is, in essence, a character study of Nigerian campus cultism, itself. The stories are organized into three sections that can be mapped onto a ritual landscape: the stages of initiation, participation, and renunciation serve to link diverse voices and life stories. The dissertation is framed by a Preface and Epilogue that explore issues of race, representation, and reflexivity, themes that are important to a project engaging with living memories of contemporary violence. A critical prologue and footnotes throughout serve to connect the creative core of this work to larger academic, literary, and ethnographic contexts. An appendix features maps that highlight spaces and dates important to the stories as well as four original interview ?transcripts?, semi-fictionalised records that provide both additional ethnographic detail and evidence of methodology.
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De, La Cruz-Guzman Marlene. "Of Masquerading and Weaving Tales of Empowerment: Gender, Composite Consciousness, and Culture-Specificity in the Early Novels of Sefi Atta and Laila Lalami." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417002139.
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Aghoghovwia, Philip Onoriode. "Ecocriticism and the oil encounter : readings from the Niger Delta." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86488.
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Thesis (PhD)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: The study seeks to understand the ways that environmental concerns and the phenomenon of oil production in the Niger Delta are captured in contemporary literary representations. In the thesis, I enlist several works, five poetry collections and a Nollywood video film, produced between 1998 and 2010, to investigate and analyse the different ways they engage with the effects of oil extraction as a form of violence that is not immediately apparent. Amitav Ghosh argues that representing something of such magnitude as oil modernity can only be done adequately through narratives of epic quality such as realist fiction or the historical novel. I move away from Ghosh’s assumptions to argue that the texts, poetry and video film have adequately captured the oil encounter, but not on a grand scale or through realist fiction. I situate Niger Delta representations of the oil encounter within the intellectual frame of petrocultures, a recent field of global study which explores the representational and critical domain within which oil is framed and imagined in culture. In their signification of what I call the “oil ontology”, that is, the very nature and existence of oil in the Delta, lived-experience in its actual quotidian specificity, takes precedence in the imagination of the writers that I study. I propose that the texts, in very different ways, articulate these experiences by concatenating social and environmental concerns with representations of the oil encounter to produce a petro-literary form which inflects and critiques the ways in which oil extraction, in all its social and environmental manifestations, inscribes a form of violence upon the landscape and human population in the oil sites of the Delta. I suggest that the texts articulate a place-based, place-specific form of petroculture. They emphasis the notion that the oil encounter in the Delta is not the official encounter at the point of extraction but rather the unofficial encounter with the side-effects of the oil extraction. The texts, in very different ways address similar concerns of violence as an intricate feature in the Delta, both as a physical, spectacular phenomenon and as a subtle, unseen category. They conceive of violence as a consequence of the various forms of intrusion and disruption that the logic of oil extraction instigates in the Niger Delta. I suggest that the form of eco-poetics that is articulated gives expression to environmental concerns which are marked off by an oily topos in the Delta. I maintain that in projecting an artistic vision that is sensitive to environmental and sociocultural questions, the writings that we encounter from this region also make critical commentary on the ontology of oil. The texts conceive the Niger Delta as one that provides the spatial and material template for envisioning the oil encounter and staging a critique of the essentially globalised space that is the site of oil production.<br>AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die maniere waarop omgewingsbelange en die instellings van olieproduksie in die Delta van die Niger-rivier vasgevang word in kontemporêre letterkundige voorstellings. In my tesis gebruik ek verskeie werke – vyf versamelings van gedigte en ‘n Nollywood [Nigeriese] video, almal geskep tussen 1998 en 2010 – om die verskillende wyses waarop hierdie tekste omgaan met die gevolge van olie-ontginning, as ‘n vorm van geweld wat nie onmiddellik opvallend is nie, na te vors en te analiseer. Amitav Ghosh argumenteer dat, om ‘n fenomeen van sulke geweldige omvang soos olie-moderniteit uit te beeld, slegs na behore uitgevoer kan word in narratiewe van epiese dimensies; byvoorbeeld realistiese fiksie of die historiese roman. Ek beweeg weg van Ghosh se aannames deur te argumenteer dat die tekste (gedigte en ‘n video-film) wel die olie-ervaring behoorlik vasvang, maar nie op groot skaal soos in realistiese fiksie nie. Ek plaas die Niger-Delta uitbeeldings van die olie-ervaring binne die groter raamwerk van Petro-kulture: ‘n nuwe studiegebied wat die voorstellings- en kritiese domein waarbinne olie gekonseptualiseer en kultureel verbeel(d) word, ondersoek. In hul voorstellings van die olie-ontologie van die Delta neem die ervaringswêreld in sy daaglikse werklikhede (in die gekose skrywers se uitbeelding daarvan) ‘n sentrale plek in. Ek konstateer dat die tekste, hoewel op heel uiteenlopende maniere, hierdie ervarings artikuleer deur sosiale en omgewings-oorwegings byeen te bring met uitbeeldings van die olie-ervaring ten einde ‘n petro-literêre vorm te skep wat die maniere waarop olie-ontginning, in al die sosiale en omgewings-effekte daarvan, ‘n vorm van geweld op die landskap en die menslike bevolking van die olie-ontginningsgebiede van die Delta inskryf, inflekteer en krities analiseer. Ek stel dit dat die tekste ‘n plek-gebaseerde en gebieds-spesifieke vorm van Petrokultuur artikuleer. Hulle benadruk die feit dat die olie-ervaring in die Delta nie die offisiële ontmoeting by die ontginningspunt is nie, maar eerder die onoffisiële ondervinding van die newe-effekte van die olie-ontginningsproses. Op hul verskillende wyses spreek die tekste ‘n ooreenstemmende besorgdheid uit aangaande die ingewikkelde rol wat geweld in die Delta speel – beide as ‘n fisiese, ooglopende fenomeen en as ‘n subtiele, ongesiene kategorie. Die tekste konseptualiseer geweld as seinde die gevolg van die verskeie vorme van ingryping en versteuring wat deur die logika van die olie-ontginningsproses in die Niger-Delta meegebring word. Ek suggereer dat die vorm van eko-poëtika wat hier geartikuleer word, uitdrukking gee aan omgewings-oorwegings wat in die Delta deur ‘n olie(rige) topos omgrens word. Ek maak die stelling dat, deur middle van ‘n artistieke visie wat gevoelig is vir omgewings-en sosiale vrae, die tekste wat in hierdie gebied ontstaan, kritiese kommentaar bied op die ontologie van olie. Die tekste verbeel die Niger-Delta as ‘n gebied wat die ruimtelike en materiële templaat voorsien om die olie-ervaring te visualiseer en te konseptualiseer, om sodoende ‘n kritiek te skep van die geglobaliseerde ruimte van olie-produksie.
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Campos, Juliana Sant\'Ana. "O Sétimo Juramento de Paulina Chiziane e Hibisco Roxo de Chimamanda Ngozi Adichie: um olhar sobre a constituição das personagens." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-19032019-124450/.
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É possível afirmar que a produção literária de qualquer sistema social dialoga com o contexto histórico, cultural, econômico e político dentro do qual está inscrita, e tal contexto, por sua vez, também dialoga e reage a essa produção definindo um constante movimento sistêmico. Tais imbricações entre literatura e contexto social incidem na construção das personagens, muitas vezes, mobilizadas, nos textos literários, pela construção de suas próprias identidades e em tensão não só com o contexto social dentro do qual vão sendo inscritas, mas também e, inevitavelmente, com as demais personagens que integram a narrativa ficcional. É a partir desses movimentos entre a constituição das personagens, suas identidades e seus respectivos contextos sociais que os romances, O Sétimo Juramento, da escritora moçambicana Paulina Chiziane e, Hibisco Roxo, da escritora nigeriana Chimamanda Ngozi Adichie serão analisados. Tendo por base conjunturas históricas cujas especificidades estão demarcadas, Moçambique e Nigéria, é que as personagens femininas dos romances de Adichie e de Chiziane serão aproximadas e se distanciarão entre si, mas, continuamente em tensão, confrontam o universo masculino. Essas personagens acabam por ascender nessas narrativas ficcionais como mulheres que vislumbram rupturas de sistemas sócio-político-econômico-culturais e acabam por desencadear, sobretudo, novas relações plurais de identidade. Em ambos os romances, de maneira confluente, a dinâmica das tramas reside na movimentação, transformação e ação das personagens femininas que se redescobrem na pluralidade de sua constituição como seres humanos e plenas de possibilidades concretas e objetivas de transformação social para conferirem diferentes saídas para as sociedades de classes, historicamente, opressoras, machistas, patriarcais e opressivas.<br>It is possible to affirm that the literary production of any social system dialogues with the historical, cultural, economic and political context within which it is inscribed, and that context, in turn, also dialogues and reacts to this production defining a constant systemic movement. Such imbrications between literature and social context focus on the construction of the characters, often mobilized in literary texts, for the construction of their own identities and in tension not only with the social context within which they are being inscribed but also and, inevitably, with the other characters that integrate the fictional narrative. It is from these movements between the constitution of the characters, their identities and their respective social contexts that the novels, O Sétimo Juramento, by the Mozambican writer Paulina Chiziane and, Purple Hibiscus, by the Nigerian writer Chimamanda Ngozi Adichie will be analyzed. Based on historical conjunctures whose specificities are demarcated, Mozambique and Nigeria, is that the female characters of Adichie and Chiziane novels will approximate and distance themselves from each other, but continually in tension, they confront the masculine universe. These characters end up ascending in these fictional narratives as women who envisage ruptures of socio-political-economic-cultural systems and end up triggering, above all, new plural relations of identity. In both novels, in a confluent way, the dynamics of the plot lies in the movement, transformation and action of the female characters who rediscover themselves in the plurality of their constitution as human beings and full of concrete and objective possibilities of social transformation to give different exits to the class societies, historically, oppressive, macho, patriarchal and oppressive.
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Quayson, Laud Ato. "Tradition(s) and the individual talent : the development of a Nigerian tradition of writing (with special reference to the works of Rev. Samuel Johnson, Amos Tutuola, Wole Soyinka and Ben Okri)." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261547.
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Wambui, Mary Theru. "Female identity in the post-millennial Nigerian novel: a study of Adichie, Atta, and Unigwe." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020013.
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This thesis project examines the work of three female Nigerian authors: Chimamanda Ngozi Adichie, Sefi Atta and Chika Unigwe. They are part of a growing number of young African writers who are receiving international acclaim and challenging narratives that have long defined the continent in pejorative terms. They question what it means to be female and African in a transcultural, global world but counter discourses that are both restrictive and prescriptive. Their female characters are not imaged in binary terms as either victims or villains. For all three writers, the African story has to be told in its entirety incorporating what some may argue are negative stereotypes but doing so in a manner that examines and undermines those same stereotypes. For the purposes of the thesis, I focus on their first novels: Adichie’s Purple Hibiscus, Atta’s Everything Good Will Come and Unigwe’s On Black Sisters’ Street. Chapter One examines Purple Hibiscus and argues that the novel is much more than a coming of age story or, as some critics have posited, an allegory of the postcolonial state. Chapter Two highlights Atta’s use of fairly familiar feminist theories but grounds them in the lived realities of the African city. All three authors are concerned with issues of violence and death. Unigwe’s novel, which forms the focus of Chapter Three, offers a critical perspective on how both of those themes intersect with the increasing commercialisation of global culture. Her characters are female sex workers whose lives are irrevocably altered by the murder of one of their colleagues. I conclude by arguing that the three novels offer a nuanced if not necessarily new understanding of the various social, economic and political forces that continue to shape the lives of women on the continent.
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Hutchison, Yvette. ""Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African plays." Thesis, Stellenbosch : Stellenbosch University, 1999. http://hdl.handle.net/10019.1/51338.
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Thesis (PhD)--Stellenbosch University, 1999.<br>ENGLISH ABSTRACT: In hierdie proefskrif word gekyk na die verwantskap tussen geskiedenis, mite, geheue
en teater. Daar word ook gekyk na die mate waartoe historiese of mitiese toneelstukke
gebruik kan word om die amptelike geheue en identiteite, soos deur bewindhebbers in
post-koloniale Nigerie en Kenya geskep, terug kon wen of uit kon daag. Hierdie
werke word dan vergelyk met die soort teater wat tydens die Apartheidbewind in
Suid-Afrika geskep is, om verskille en ooreenkomste in die gebruik van historiese en
mitiese gegewens te bekyk. Die slotsom is dat een van die belangrikste kenmerke van
die teater in vandag se samelewing sy vermod is om alternatiewe historiese narratiewe
te ontwikkel wat kan dien as teen-geheue ("counter-memory") vir die dominante
narratief van amptelike geskiedenisse. Sodoende bevraagteken die teater dan ook 'n
liniere en causale siening van die geskiedenis, maar interpreteer dit eerder as
meervoudig en kompleks.<br>AFRIKAANSE OPSOMMING: This thesis considers the relationship between history, myth, memory and theatre. The
study explores the extent to which historic or mythic plays were used to either reclaim
or challenge the official memories and identities created by those in power in the postcolonial
Kenyan and Nigerian context. These are then compared to the South African
theatre created during Apartheid, exploring the similarities and differences in the
South Africans use of historic or mythic referents. The conclusion reached is that one
of the most powerful aspects of theatre in society is its ability to create alternate
historic narratives that become a counter-memory to the dominant narrative of official
histories. It also challenges seeing history as linear and causal, and makes it more
plural and complex.
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Oladosu, Olayinka Abdulahi. "Femininity and Sexual Violence in the Nigerian Films, Child, not Bride, October 1 and Sex for Grades." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1621857462497919.
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Agum, David. "African Social and Political History: The Novelist (Chinua Achebe) as a Witness." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216514.
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African American Studies<br>Ph.D.<br>This study examines the role of African novelists as major sources of historiography of Africa, and the socio-cultural experience of its people. Although many African novelists have over the years reflected issues of social and political significance in their works, only a few scholarly works seem to have addressed this phenomenon adequately. A major objective of this dissertation then is to help fill this gap by explicating these issues in the fiction of Chinua Achebe, a great iconic figure in African Literature. Utilizing the conceptual and analytical framework suggested in C.T. Keto's, Africa-Centered Perspective on History (1989), the contexts, themes, structures and techniques of the following five novels were examined: Things Fall Apart (1958), No Longer at Ease (1960), Arrow of God (1964), A Man of the People (1966), and Anthills of the Savannah (1987). The novels were shown to be replete with cogent social and political insights which provide an accurate portraiture of African/ Nigerian history of the 19th and 20th Century. The study seeks to make a modest contribution to the steadily mounting body of Africa centered criticism of the African novel/fiction within the context of African social and political history.<br>Temple University--Theses
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Nkalubo, Arthur. "A Marxist Reading Of Things Fall Apart In The Esl Classrom : Exploring Colonial Socio-economic Exploitation in the Nigerian Context." Thesis, Södertörns högskola, Lärarutbildningen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45721.
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This thesis aims to explore how a critical reaading of the novel Things Fall Apart (1958) can provide valuable perspective for educators and students when examining socio-economic issues in a colonial context in the ESL classroom. The main issues being analysed are how the novel reveals and explores socio-economic forms of exploitation under colonialism, and how a critical reading of the novel can be used in teaching to inform and persuade learners about social injustices. To show this, the essay examines the novel from a marxist perspective, and more specifically by drawing on the concept of primitive accumulation to understand and explain the changes brought about by the introduction of colonial rule. The changes in this context include the Igbo community's relation to land, its socio-economic and cultural aspects as well as the introduction of trade. The discussion and analysis of the novel centre on social injustices due to land expropriation, breakdown of traditional values and customs, and economic changes brought about by the arrival of Europeans in the context of colonialism. Expanding on this, the essay also reflects on the pedagogical implications of its arguments by showing how a critical reading of Things Fall Apart might provide an opportunity for teachers to underline issues of social injustice, material, and economic forms of exploitation under colonialism and beyond. This literary analysis also discusses and reflects on the practical challenges and possibilities of teaching such issues in the ESL classroom by using the concept of critical literacy.
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Nkalubo, Arthur E. "A Marxist Reading Of Things Fall Apart In The Esl Classrom : Exploring Colonial Socio-economic Exploitation in the Nigerian Context." Thesis, Södertörns högskola, Lärarutbildningen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45721.
Full textAbstract:
This thesis aims to explore how a critical reading of the novel Things Fall Apart (1958) can provide valuable perspective for educators and students when examining socio-economic issues in a colonial context in the ESL classroom. The main issues being analysed are how the novel reveals and explores socio-economic forms of exploitation under colonialism, and how a critical reading of the novel can be used in teaching to inform and persuade learners about social injustices. To show this, the essay examines the novel from a marxist perspective, and more specifically by drawing on the concept of primitive accumulation to understand and explain the changes brought about by the introduction of colonial rule. The changes in this context include the Igbo community's relation to land, its socio-economic and cultural aspects as well as the introduction of trade. The discussion and analysis of the novel centre on social injustices due to land expropriation, breakdown of traditional values and customs, and economic changes brought about by the arrival of Europeans in the context of colonialism. Expanding on this, the essay also reflects on the pedagogical implications of its arguments by showing how a critical reading of Things Fall Apart might provide an opportunity for teachers to underline issues of social injustice, material, and economic forms of exploitation under colonialism and beyond. This literary analysis also discusses and reflects on the practical challenges and possibilities of teaching such issues in the ESL classroom by using the concept of critical literacy.
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Danaila, Ioana. "Construction, évolution et questionnements identitaires dans la littérature nigériane contemporaine." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALL005.
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La littérature nigériane du début du XXIe siècle repositionne la notion d'identité dans un contexte d'immigration et de mondialisation qui la complexifie et la remet en question. Si l'affirmation de l'identité nationale n'est plus une priorité, la troisième génération d'écrivains nigérians met l'accent sur des représentations de l'identité comme parcours et dynamique.L'identité est d'abord envisagée comme une construction spatio-temporelle axée sur l'héritage des cultures traditionnelles, les représentations de l'espace et le rapport à l'Histoire. Toutefois, cette construction est remise en question à travers l'expérience traumatique et l'immigration. L'entre-deux spatial et culturel qui en résulte engendre une crise des liens familiaux et de la filiation, qui deviennent ainsi l'objet d'un conflit entre l'identité héritée et l'identité créée. Enfin, cet élan vers l'avenir des possibles donne à l'identité une configuration kaléidoscopique, à l'image de la pluralité linguistique et l'intertextualité. L'écriture du soi est associée à une chambre d'écho de langues, de voix et de formes littéraires enchâssées.Pour conclure, l'époque de la mondialisation et de la mobilité traduit aussi une transformation de la notion d'identité en raison des multiples espaces culturels où vivent les individus. Ainsi, l'écriture de l'identité comme « donnée initiale » évolue vers une écriture de la somme des possibilités d'être<br>Nigerian literature at the dawn of the 21st century places the notion of identity in a context of immigration and globalization which complexifies and questions it. If the affirmation of national identity is no longer a priority, the third generation of Nigerian writers focuses on representations of identity as process and dynamics.Identity is first envisaged as a spatial and temporal construction around the heritage of Nigerian traditional cultures, the representations of space and its relation to History. However, this construction is questioned through the traumatic experience and immigration. The resulting spatial and cultural in-between space entails a crisis of the family ties, which become the object of a conflict between inherited and created identity. Finally, this momentum towards the future gives identity a kaleidoscopic configuration related to linguistic plurality and intertextuality. The writing of the self is associated to an echo chamber of languages, voices and embedded literary forms.To conclude, the age of globalization and mobility entails a transformation of the notion of identity due to multitude of cultural spaces where individuals live. The writing of the self as « initial data » thus evolves towards a writing of the sum of the possibilities of being
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Awele, Emmanuel Chukwudi. "Globalization and slow violence : slow genocide at the periphery in Jeannette Armstrong’s Whispering in shadows and Kaine Agary’s Yellow-Yellow." Mémoire, Université de Sherbrooke, 2015. http://hdl.handle.net/11143/6850.
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Abstract : The work that follows analyses the environmental, cultural, economic and rhetorical methods of conceptualizing violence affecting traditional Niger-Deltan and pan-Indigenous peoples. Whispering in Shadows by Jeanette Armstrong and Yellow-Yellow by Kaine Agary represent how Okanagan and other pan-Indigenous peoples of the Americas and Niger Deltans experience contemporary forms of slow genocide as a result of environmental pollution and various forms of displacement from ancestral spaces. This analysis of both texts brings to the fore the Indigenous sense of life, well-being, and progress that is grounded in a holistic view of communal life on traditional lands, and places it in contrast with the non-traditional use of traditional lands, as well as the exploitation of Okanagan and Nigerian Indigenous peoples produced by the dominant socio-economic realities controlled by the forces of globalization.
Indigenous environmentalism reflected by Armstrong’s and Agary’s novels views human relationships with the land in terms of an interconnected familial dependence, and not within extreme notions of romanticized abstinence from dependence on land or of capitalist exploitative use of land. In the light of the environmental criticism of Yellow-Yellow and Whispering in Shadows, I propose that both texts may be read as eco-literature. However the ecocritical work of both novels is based, not on Western-identified notions of ecocriticism that often prioritize the non-human through what Graham Huggan and Helen Tiffin describe as “anti-human” environmentalism. Rather, the novels adopt an Indigenous view of humans and non-humans not as competing subjects, but as interdependent and interrelated parts of one entity: the land. Agary’s and Armstrong’s renderings of displacement disrupt dominant utilitarian perceptions of the land by showing that it carries meaning and identity that encompasses culture, social, personal and communal existence. I suggest that a reaffirmation of culturally-grounded relations with the land, a reconnection to land and rebuilding of localized networks between Individuals in eco-devastated communities and between such communities in a form of globalization-from-below provides a strong base for healing, for cultural preservation, and for creative collaborative responses and solutions to globalization. Global minority collaboration and cultural affirmation ultimately has potentials of destabilizing and resisting globalization in sustainable ways. They insulate communities from the hegemony of the dominant Western socio-cultural models.
The close familial ties between Indigenous peoples and the land, coupled with historic, cultural and economic meaning of land to such communities suggest that the loss of traditional land under systems of globalization is a traumatizing and devastating experience for traditional peoples. I argue that such cultural and physical dislocation normalizes a trend of infighting and social instability, which becomes a self-reproducing violence that exacerbates the process of slow genocide: “the emotional and physical harm done to survivors of violence over time that leads to extreme hardship and premature death for many” (Cottam, Huseby, and Lutze 2).
At the heart of Armstrong’s and Agary’s texts are critiques of both environmental and social injustices that emanate from industrial activities on Indigenous traditional lands. The environmental representations of Armstrong and Agary portray Indigenous perspectives that link environmentalism to the cultural, economic and social facets of sustainability. The pan-Indigenous and African environmentalisms represented in Whispering in Shadows and in Yellow-Yellow respectively do not define “environmental concerns” and issues of justice in terms of separate issues that need linking. Rather, they represent the issues of equity, justice, and environmental, spiritual and cultural stability as a one and the same interrelated issue of sustainability.<br>Résumé : Ce qui suit analyse des dispositifs environnementaux, culturels, économiques et rhétoriques qui engendrent le déplacement chez les peuples traditionnels autochtones et du Delta de Niger. Whispering in Shadows de Jeannette Armstrong et Yellow-Yellow de Kaine Agary représentent, de manière similaire, la façon dont les peuples traditionnels autochtones et ceux du Delta de Niger expérimentent les formes contemporaines du génocide lent sous forme de pollution environnementale, ainsi que des déplacements spatiaux. Cette analyse porte un regard particulier sur le sens de la vie, du bien-être et du progrès selon les cultures traditionnelles autochtones qui se basent sur une vision globale de la vie commune sur la Terre ancestrale. Cette cosmologie est mise en contraste avec la culture mondialisée qui encourage notamment l’utilisation non-traditionnelle des terrains et l'exploitation des peuples traditionnels autochtones.
L'environnementalisme autochtone reflété dans les romans d'Armstrong et d’Agary considère les relations des humains avec la Terre comme étant une dépendance familiale interconnectée. Cette relation ne se définit pas sur base des notions extrêmes d'abstinence romancée ou de non-dépendance sur la Terre. Elle n’est pas définie non plus par des notions de l'exploitation écocidaire capitaliste de la Terre. À la lumière de la critique environnementale de Whispering in Shadows et de Yellow-Yellow, je propose que les deux textes soient lus comme des éco-littératures. Cependant, le travail des deux romans écocritiques est fondé non sur les notions occidentales de l’écocritique qui privilégient souvent les non-humains dans un environnementalisme que Graham Huggan et Helen Tiffin (2010) décrivent comme étant « antihumain », mais plutôt sur celles qui considèrent les humains et les non-humains non pas comme des sujets en concurrence, mais comme les parties interdépendantes et intimement liées au sein d’une seule entité: la Terre. La conception de la question du déplacement selon Agary et Armstrong déstabilise la perception dominante matérialiste de la Terre en montrant que la Terre est porteuse d’un sens et d'une identité qui peuvent sembler arbitraires, mais qui englobent au fait la culture, la vie sociale, personnelle et communautaire. Je propose qu’une base solide pour gagner la guérison spirituelle, la préservation des cultures marginalisées et la lutte contre la mondialisation se trouve dans la réaffirmation des relations culturellement fondées avec la terre, la reconnexion à la terre et la construction de réseaux localisées entre les individus dans les communautés éco-dévasté, ainsi qu’entre ces communautés, dans une forme de « mondialisation d’en bas. » La collaboration entre les minorités et l'affirmation culturelle ont de la potentielle à déstabiliser et résister la mondialisation de manière durable. Cette globalisation d’en bas isole aussi les communautés de l'hégémonie des modèles socio-culturels dominants venant souvent de l’occident.
Les liens familiaux étroits que partagent les peuples autochtones et leur Terre, ainsi que les significations historiques, culturels et économiques de la Terre pour ces communautés autochtones, suggèrent que la perte des espaces terrestres traditionnelles sous les systèmes de la mondialisation est vécue comme une véritable expérience traumatisante et dévastatrice. Cette injustice normalise par la suite une tendance de la violence latérale et de l'instabilité sociale qui devient une violence autoreproductrice et qui maintient le processus historique du génocide lent: «le préjudice émotionnel et physique subi par les victimes de la violence au fil du temps qui mène à la pauvreté extrême et à la mort prématurée pour beaucoup» (ma traduction : Cottam, Huseby, et Lutze 2).
Au cœur des textes d'Armstrong et d’Agary se trouvent des critiques contre les injustices sociales et environnementales émanant des activités industrielles dans les espaces traditionnelles autochtones. L’environnementalisme d'Armstrong et d’Agary décrit des cosmologies autochtones qui interagissent entre l'écologie et les aspects culturelles, économiques et sociaux du développement durable. L’environnementalisme autochtone d’Armstrong et l’environnementalisme africain d’Agary, en fonction de leurs cosmologies traditionnelles respectives, ne conceptualisent pas des «préoccupations environnementales» et les questions de justice dans le contexte des questions distinctes qui devraient être liées comme la culture dominante occidentale les conçoivent. Pour eux, les questions de l'équité, de la justice, de la stabilité environnementale, spirituelle et culturelle ne sont qu’une et la même question du développement durable.
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Courtois, Cédric. "Itinéraires d’un genre. Variations autour du Bildungsroman dans la littérature nigériane contemporaine." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN031.
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Depuis le début des années 2000, l’un des traits distinctifs de la littérature nigériane tient dans son utilisation du genre littéraire du Bildungsroman , dont cette thèse considère les différentes évolutions chez les romancières et romanciers dits de la troisième génération. En examinant une vingtaine de romans, de Waiting for an Angel (2002) de Helon Habila à Freshwater (2018) d’Akwaeke Emezi, ce travail se propose de brosser un portrait panoramique d’un pan de la littérature nigériane ultra-contemporaine par le prisme du Bildungsroman. Prenant appui sur les études de genre, cette étude considère tout d’abord les différentes variations féminines d’un genre littéraire au penchant androcentrique. Les réécritures féminines du Bildungsroman mettent en lumière le développement (ou son échec) d’un point de vue et d’une voix individuels alors que les héroïnes tentent de (se) construire un moi unifié. La tendance allégorique du Bildungsroman sous sa forme traditionnelle est également centrale, et l’Histoire de la nation nigériane, depuis la guerre civile (ou guerre du Biafra, 1967-1970), jusqu’au début des années 2000, est au cœur des intrigues tissées par les ouvrages du corpus : la Bildung des protagonistes se fait en parallèle de celle de la nation. Enfin, au XXIè siècle, les frontières nationales ne semblent plus être tout à fait pertinentes pour les romancières et romanciers nigérians qui, de par leur propre expérience en tant qu’individus, détaillent les nouvelles conditions de développement dans une société mondialisée, multiculturelle, ou transculturelle, où les frontières (géographiques, identitaires, génériques) tendent à s’estomper voire à disparaître. Nous proposons donc de nous interroger sur l’existence d’une spécificité nigériane du Bildungsroman en ce début de XXIè siècle<br>Since the beginning of the 2000s, one of the distinctive features of Nigerian literature has been the use of the literary genre of the Bildungsroman . This thesis considers the different evolutions of this genre among male and female third-generation Nigerian novelists. It examines more than twenty novels, from Waiting for an Angel (2002) by Helon Habila to Freshwater (2018) by Akwaeke Emezi, thereby providing a picture of contemporary Nigerian fiction. This study aims at analysing contemporary Nigerian fiction through the genre of the Bildungsroman. By using gender theory, it considers the feminine variations on an androcentric genre. These feminine rewritings put forth the development (or lack thereof) of the heroines from an individual viewpoint as they try to build a unified self. The allegorical tendency of the traditional Bildungsroman is also central, and the History of the Nigerian nation, from the civil war (or Biafra war, 1967-1970), to the beginning of the 2000s, is at the heart of the plots woven by the novels chosen in the corpus: the Bildung of the protagonist parallels the Bildung of the nation. Finally, in the 21st century, national borders do not seem to hold any longer for the third-generation writers who, because they experience mobility themselves, describe the new conditions of development in a globalized society, which is increasingly multicultural or transcultural; borders (whether they be geographical, linked to identity, or generic) tend to fade away, or disappear. This thesis examines whether or not a Nigerian specificity of the Bildungsroman exists in the 21st century
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Malowany, Maureen. "Representations of African women in the historical literature of Nigeria, 1890-1990." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61322.
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The thesis has been divided into five chapters. The three central chapters reflect paradigmatic shifts in Nigerian historiography. During the colonial era, although a few texts written by Nigerians entered the published literature, most writing was produced by non-Africans, anthropologists and colonial administrators, for the purpose of social investigation and control. With the establishment of Nigerian universities in 1948, academic historians, fuelled by the desire for independence, reclaimed their discipline to write local and national political histories. Encouraged by the concerns of the North American feminist movement of the 1970s, women gained an increasing presence in research and literature.<br>Contrary to earlier arguments, categories for representations of women in history coexist in time. There are periods such as the nationalist era, in which women are almost invisible. When women are present in the literature, however, they are seen both in complementary power relationships with men in certain economic areas, such as trading, and in other areas, such as taxation, subject to male power. (Abstract shortened by UMI.)
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Egbo, Benedicta. "Variability in the quality of life of literate and non-literate rural women, a Nigerian account." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0002/NQ27916.pdf.
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Oduko, Olusegun A. "Television drama in a developing society : the case of Nigeria." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/34604.
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Cumpsty, Rebekah Lindiwe Levitt. "'Lean[ing] into transcendence' : transformations of the sacred in South African, Zimbabwean and Nigerian literatures." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13953/.
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Enchantment is a defining feature our postcolonial, globalised world and the literary is where much of this wonder is registered and celebrated. Thus this thesis attends to the postcolonial dynamic of sacred and secular experience as it is represented in contemporary African literatures. Debates around the secular and postsecular are long standing in the fields of religious studies, anthropology and philosophy, but as yet underappreciated in literary studies. I develop a hermeneutic of the imminent sacred as a way to read the constitutive and recuperative gestures subjects make as they assert a sense of belonging in spaces of globalised modernity. The texts are grouped thematically. In response to Chris Abani and Yvonne Vera’s work I articulate how the ritual dimensions of lyrical prose and ritual attention to the corporeal form sacralises the body. Phaswane Mpe and Teju Cole incorporate African epistemologies into the resignification of their cities and with Ivan Vladislavić, the streets are sacralised. Marlene van Niekerk and J. M. Coetzee convey the anxieties of settler colonialism and a love of land reinscribed as sublime. Collectively, the novels I discuss reflect patterns of existential anxiety that emerge from difficulties of belonging, and I trace the ritualised and sacralising strategies of incorporation that seek to locate the subject. These novels radically disrupt the epistemological and ontological modalities of globalised ‘secular’ literary production and intervene in the recuperation of the sacred as a mode of incorporation and resistance. Recent scholarship in African literatures has overlooked these distinctly postsecular negotiations and the ways in which the sacred is reinvested in contemporary African fiction in order to instantiate intimate, local alternatives to the teleology of secular modernity. Thus I use the imminent sacred as a reading strategy that foregrounds these postsecular negotiations and the interrelations of care and vulnerability that motivate sacralisation.
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Adenekan, Olorunshola. "African literature in the digital age : class and sexual politics in new writing from Nigeria and Kenya." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3895/.
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Using wide-ranging literature and theoretical concepts published digitally and in print, this thesis will build the emerging picture of African literature in English that is being published in the digital space. The study will analyse the technological production of classed and sexualised bodies in new African writing in cyberspace by some of the young writers from Nigeria and Kenya, as well as writing from a few of their contemporaries from other African countries. This thesis will also analyse the differences between the agenda of the previous generation – including representation and perspectives - and that of a new generation in cyberspace. In the process, I hope to show how literature in cyberspace is asking questions as much of psychic landscapes as of the material world. To my knowledge, there is no substantive literary study done so far that contextualizes this digital experience.
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Thiam, Djibril S. "Soyinka's drama in relation to the traditional Yoruba culture of Nigeria." Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301263.
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Musa, Muhammad Danladi. "Confronting Western news hegemony : a case study of News Agency of Nigeria." Thesis, University of Leicester, 1989. http://hdl.handle.net/2381/34601.
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This thesis is an attempt at examining the extent to which indigenous news agencies in the third world are able to fracture the old order of information by providing alternative news. In other words, the thesis sets to examine whether indigenous third world news wholesalers could be viable alternatives to the international news wholesalers of the advanced industrialised capitalist countries as is hoped among NIIO advocates. The study focuses on the News Agency of Nigeria (NAN) as a representation of such social institutions faced with the task of providing alternative window to the country's and indeed third world experience. For the purpose of providing a context for the analysis of social institutions such as the media we have drawn on primary and secondary material on the Nigerian society in which NAN operates. Similarly, primary and secondary material on NAN and other news agencies of the world have been used to assess the theoretical and empirical postulations advanced in the New International Information Order debate. In addition to foreign news content from NAN for instance, we have also excavated through the domestic news content so as to address the domestic dimension of the NIIO debate. In this regard the thesis has combined textual study with the sociological study of news production as a social process, as part of the method of analysis. The conclusions we arrived at are that far from fracturing the old order of information third world news agencies like NAN actually consolidate that old order in various ways. First, by relying on the same international news agencies for a larger part of their foreign news content, and secondly, by employing routine practices and assumptions that select certain news types, news locations, news actors and setting etc, and others, for inclusion into the news bulletin and, thirdly, by tending to focus towards more profitable services like the financial data (FD), as opposed to the non-profitable general news. These limitations more than their ownership by home governments or dearth of facilities, constrained such agencies like NAN in providing alternative news. It is for these that they disseminate a news product reflecting a skewed version of reality in so many ways that in the final count consolidate the prevailing order nationally and internationally, rather than providing a fundamental alternative.
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Nwokocha, Sandra Chinyeaka. "Feminism in twenty-first-century Nigerian novels by women." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7310/.
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Scholarship on twenty-first century Nigerian female-authored novels has long been dominated by womanist readings, regardless of the fact that these modern narratives represent feminism in strong terms. The readings often subsume subversive femininity within non-aggressive liberation, resulting in an insufficient narrative of the intricacies of the novels of the period. This thesis challenges such representations by proposing subversion as the hallmark of twenty- first century Nigerian female-authored novels through a textual analysis of Chimamanda Ngozi Adichie’s Purple Hibiscus and Half of a Yellow Sun, Sefi Atta’s Everything Good Will Come and Kaine Agary’s Yellow Yellow. Through a gynocentric approach, the analysis of the novels foregrounds a feminist view of domination, resistance and solidarity, espousing the premise that the contemporary heroines are understandably rebellious in asserting female agency. The thesis draws three fundamental conclusions: that the feminist paradigm is useful to the comprehension of the nuances of twenty-first century Nigerian female-authored novels, that dissidence is a remarkable feature of contemporary texts, and that this revolutionary tendency contrasts with the conservative attitudes of the previous epoch.
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Nunes, Alyxandra Gomes. "Things fall apart de Chinua Achebe como romance de fundação da literatura nigeriana em lingua inglesa." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269860.
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Orientador: Vilma Sant'Anna Areas<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-05T17:51:48Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: Este trabalho se propõe a analisar o primeiro livro do romancista nigeriano Chinua Achebe, Thingslall apart, comoromance de fundação da literatura nigeriana de língua inglesa. A partir de considerações teóricas das características do texto fundacional, buscamos identificar no decorrer da narrativa os elementos textuais que indicam uma possível leitura deste romance como fundacional, atentandopara os aspectos discursivos da História da África e da Literatura Africana em geral, da construção da nação, bem como da análise do conteúdo ficcional<br>Abstract: This academic work intends to analyze Chinua Achebe's first novel Thing sfall apart read as a founding novel, it is considered a cornerstone within the Anglophone Nigerian literature. From the point of view of some theorists of the foundational discourse, we sought to analyze the elements in the narrative which would function as icons for the thesis of a foundational novel. We focused on discursive elements of the African History and the Africa Literature in general, on the idea of Nation, as well as the analysis of content<br>Mestrado<br>Literatura Geral e Comparada<br>Mestre em Teoria e História Literária
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Ojinmah, Umelo R., and n/a. "Post-colonial tensions in a cross-cultural milieu : a comparative study of the writings of Witi Ihimaera and Chinua Achebe." University of Otago. Department of English, 1988. http://adt.otago.ac.nz./public/adt-NZDU20070619.113620.
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In many former British colonies independence from colonial rule has produced a myriad of post-colonial tensions. Increasingly, writers from the indigenous race in these former colonies have felt moved to respond to these tensions in their imaginative fiction. This study has undertaken a comparative cross-cultural analysis of the works of two writers from such societies whose indigenous cultures share common assumptions, to explore the underlying impetus of these tensions, and the writers� proposals for resolving them.
Chapter One assesses Witi Ihimaera as a writer, and explores his concept of biculturalism, with particular emphasis on the distinctly Maori point of view which informs his analysis of contemporary social problems.
Chapter Two assays Ihimaera�s pastoral writings, Pounamu Pounamu, Tangi, and Whanau, tracing in them the development of his concept of biculturalism, and also the changes in Ihimaera�s writing that culminated in The new Net Goes Fishing, with the hardening of attitude that it expresses.
Chapter Three looks at the revisionism of Ihimaera�s view of New Zealand history from a Maori viewpoint. It uses Ihimaera�s The Matriarch not only as a means of exploring this revisionist Maori perspective, but also as evidence of the radicalisation of Ihimaera�s views, and the broadening of the concept of biculturalism to embrace not only cultural, but social and political matters.
Chapter Four considers Ihimaera�s The Whale Rider as a feminist restatement of earlier views and highlights the growing dilemma he faces concerning the concept of biculturalism.
Chapter Five focuses on Achebe, the writer, and his view of the role of the African writer in contemporary society. It argues that Achebe views himself as a seer, a visionary writer who has the answer that could regenerate his society.
Chapter Six analyses Achebe�s Things Fall Apart and Arrow of God, and argues that contrary to accepted views of Okonkwo, this character is not actually representative of his society but a deviant. It further argues that the post-colonial African societies� affictions with irresponsible leaders were already manifest in the colonial period, through characters such as Okonkwo and Ezeulu, whom Achebe sees as guilty of gross abuses of power and privilege.
Chapter Seven looks at both No Longer at Ease and A Man of the People, and argues that the failure of the first indigenous administrative class stems both from their having an incomplete apprehension of all the aspects of their heritage and the responsibility which power imposes on those who exercise it, and also from lack of restraint in wielding of power. It further argues that the unbridled scramble for materialism has resulted in the destruction of democratic principles.
In the context of contemporary New Zealand society, Ihimaera sees the solution for Maori post-colonial tensions as bicultural integration, but he is having problems with the concept in the face of increasing radical activism from Maoris who see it as little better than assimilation. Achebe, however, has opted for re-formism, having discarded traditionalism because it is inadequate for people in the modern world.
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Valencia, Isabel. "Välkommen till Lagos : En semantisk översättning från engelska till svenska." Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182314.
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Postkolonial teori har skiftat intresset från västerländska diskurser till frågor som ideologi, ojämlika maktförhållanden och etik. I samband med översättningsvetenskapens kulturella vändning på 1980-talet, började översättningsvetare ifrågasätta översättningsstrategier som antingen assimilerar (domesticering) eller stereotypiserar (exotisering) källkulturen. Newmark (1981) föreslår en semantisk, källtextorienterad översättningsprincip och menar att så länge den åstadkommer en likvärdig effekt, är en ordagrann översättning inte bara den föredragna, utan den enda godtagbara översättningsmetoden. Denna uppsats är en kommentar till min egen översättning av de första 17 kapitlen i romanen Welcome to Lagos, skriven av den nigerianska författaren Chibundu Onuzo. Källtexten har översatts med hjälp av en semantisk översättningsstrategi. Kommentaren fokuserar på tre aspekter som krävde särskild uppmärksamhet under översättningsarbetet, eftersom de utgör betydande utmaningar för semantiska överföringssätt: kulturspecifika begrepp, stilfigurer och talspråksmarkörer. I kommentaren framförs att den semantiska översättningsstrategin fungerade bra på den övergripande textnivån; även om specifika översättningsproblem ibland fick angripas med ett mer kommunikativt förhållningssätt för att åstadkomma en idiomatisk måltext med likvärdig effekt i målkulturen.<br>Postcolonial Studies shifted the interest from Western discourses to issues of ideology, power inequality, and ethics. As a consequence of the cultural turn in translation studies in the 1980s, scholars started questioning translation strategies that either assimilate (domestication) or stereotype (exoticization) the source culture. Proposing a semantic, source-text oriented translation principle, Newmark (1981) argues that as long as an equivalent effect can be achieved, literal translation is not just the preferred, but the only acceptable procedure. This paper comments on my own translation of the first 17 chapters of the novel Welcome to Lagos, written by Nigerian writer Chibundu Onuzo. The source text was translated using a semantic translation strategy. The commentary focuses on three key aspects that demanded particular attention during the translation process, due to the fact that they present significant challenges to semantic transfer methods: culture-specific items, stylistic devices, and spoken language markers. As the commentary suggests, the semantic translation strategy worked well on the global text level; occasionally, however, specific translation problems had to be dealt with using a more communicative approach in order to produce an idiomatic target text with an equivalent effect in the target culture.
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Osiebe, Garhe Victor. "Political music genres in postcolonial Nigeria, 1960-2013." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6812/.
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This thesis attempts an intervention in popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the thesis demonstrates that the disorderliness in popular music branding can be restricted. Through a critical discourse analysis of the textual elements of the material and of ‘alternative’ audience contributions, the thesis advocates a new genre of popular music, namely the genre of ‘political music’. This distinctive genre is extractable from the otherwise conventional genres of popular music, and is composed of three comprehensible subgenres namely protest political music, unity political music and terrestrial praise political music. The study’s selection is made of popular music material from hip hop, reggae, afro-beat, and juju genres. They are delivered in popular Nigerian languages ranging between Yoruba, Hausa, Igbo, English and Pidgin English.
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Ebong, Inih Akpan. "Drama and theatre among the Ibibio of southeastern Nigeria : a case study of Utuekpe or Ekoon drama." Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365341.
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Ventura, Priscilla de Carvalho Maia. "WE HAVE FALLEN APART: o legado colonial em Purple Hibiscus de Chimamanda Adichie e Things Fall Apart de Chinua Achebe." Universidade Federal de Juiz de Fora (UFJF), 2018. https://repositorio.ufjf.br/jspui/handle/ufjf/7879.
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Previous issue date: 2018-07-13<br>A presente dissertação propõe o estudo das consequências da dominação colonial
britânica sobre a República Federal da Nigéria no que concerne à religião, educação,
língua, raça e gênero, tendo como objetos de análise Things Fall Apart (1958) de
Chinua Achebe e Purple Hibiscus (2003) de Chimamanda Ngozi Adichie. A maneira de
ler e produzir literatura vem se metamorfoseando ao longo dos séculos XX e XXI,
abrindo espaço para que despontem as literaturas pós-coloniais, isto é, obras que
possuem como atributo comum o fato de emergirem da experiência da colonização.
Impulsionada por este contexto, a produção literária africana vem conquistando espaço e notoriedade no cenário mundial. Este trabalho busca relacionar literatura e situação sócio-política, trazendo para o debate vozes historicamente silenciadas e abrindo possibilidades de resistência às perspectivas impostas pelo olhar do colonizador, através da investigação da literatura nigeriana. Embora o período de dominação britânica sobre a Nigéria tenha chegado ao fim, as consequências de tal política ainda se fazem presentes no cotidiano daquele povo, seja na religião tradicional brutalmente substituída pelo cristianismo, nos idiomas autóctones que perdem lugar para a língua inglesa, no sistema de aprendizado estrangeiro que toma o lugar do ensino familiar ou na valorização da pele branca e do sistema patriarcal de poder. Tendo destacado papel no estabelecimento da estrutura colonial, busca-se aqui converter a literatura em instrumento de libertação.<br>The present thesis proposes the study of the consequences of British colonialism over
the Federal Republic of Nigeria concerning religion, education, language, race and
gender, having as objects of analyses Things Fall Apart (1958) by Chinua Achebe and
Purple Hibiscus (2003) by Chimamanda Ngozi Adichie. The way in which literature is
written and read has been changing throughout the 20th and 21st centuries, opening
space to the postcolonial literatures, that is, literatures that have as a common
background the fact that they come from the experience of colonialism. Propelled by
this context, African literary production has been achieving space and renown in the
global scenery. This work aims to relate literature and social-political situation, bringing
to the debate historically silenced voices, opening possibilities to resist the colonial gaze while investigating the Nigerian literature. Even though the british colonial rule has
come to an end, the consequences of this politics are still present in the daily lives of
that people, in the fact that traditional religion was brutally substituted by Christianism,
in the ancient languages replaced by English, in the educational system that took over
home schooling, in the valorization of white skin and the patriarchal power system.
Literature has a central role in establishing colonial structures and this work tries to
convert literature into a liberation tool.
44
Anagah, Mathew Ike N. "North-Eastern Igbo music : a case study of Efvu/ Odabara/Itutara music and its social function among the Izhiangbo people of Nigeria." Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356883.
Full text
45
Foreman, Chelsea. "Speaking With Our Spirits : A Character Analysis of Eugene Achike in Chimamanda Ngozi Adichie’s Purple Hibiscus." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-65249.
Full textAbstract:
The purpose of this essay is to conduct a character analysis on Eugene Achike from Chimamana Ngozi Adichie’s novel Purple Hibiscus, to see whether or not the character is used by Adichie as a portrayal of colonial Nigeria and its values. I have done this by looking at the themes of violence and hypocrisy in relation to Eugene’s language usage, religious attitude, and behaviour towards others, and comparing these aspects of his personality with the attitudes shown by colonialists in colonial Nigeria. The more important issues that prove Eugene’s character is a portrayal of colonial Nigeria are: his utter disregard for his heritage and background, including the physical disregard of his father; his absolute control over his family members, both physically and mentally, which leads to violent outbursts if he is disobeyed; the fact that he is shown in the novel to be a direct product of the missionaries and colonial structure that was present in Nigeria when he grew up. These things, together with the subtle connections in Adichie’s writing that connect her novel to Things Fall Apart, firmly place Purple Hibiscus in the postcolonial category. Thus, I concluded that Eugene’s character is a portrayal of Colonial Nigeria.<br>Syftet med denna upsats är att genomföra en karaktärsanalys på karaktären Eugene Achike i Chimamanda Ngozi Adichis roman Purple Hibiscus, för att se ifall karaktären används av Adichie som en skildring av koloniala Nigeria och dess värderingar. Jag har gjort detta genom att undersöka två teman – våld och hyckleri – i samband med Eugenes användning av språk, religös attityd, och beteende mot andra, för att då jämföra dessa aspekter av hans personlighet med attityderna kolonisatörer hade i koloniala Nigeria. De viktigaste sakerna som bevisar att Eugenes karaktär är en skildring av koloniala Nigeria är: hans fullständiga ignoreing av sin bakgrund, inklusive den fysiska ignorering av hans pappa; hans absoluta kontroll över sin familj, både fysiskt och mentalt, vilket leder till våldsamma utbrott om han inte blir åtlydd; det faktum att han beskrivs som en produkt av missionärerna och koloniala samhället vid flera tillfällen i boken. Detta tillsammans med romanens subtila kopplingar till Achebes Things Fall Apart, placerar tveklöst Purple Hibiscus i den postkoloniala kategorin. Därmed drar jag slutsatsen att Eugene’s karaktär är en skildring av koloniala Nigeria.
46
Goubali, Talon Odile. "Littérature engagée : Une nouvelle perspective sur la guerre civile au Nigéria (1967-1970)." Thesis, Cergy-Pontoise, 2018. http://www.theses.fr/2018CERG0892/document.
Full textAbstract:
Le thème de la guerre civile au Nigéria de 1967 à 1970, aussi appelée guerre du Biafra reste un thème majeur de la littérature nigériane. Les évènements qui ont amené au conflit au lendemain de l’indépendance du pays montrent une période post-coloniale encore marquée par les maux de la construction nationale des anciennes colonies que sont le régionalisme, la religion et le problème ethnique. La fin du conflit en 1970 inaugure une ère de mutation des problèmes d’avant la guerre qui perdurent avec la succession des différents régimes au pouvoir. De plus, le conflit devient un sujet tabou à effacer des mémoires autant que de la mémoire collective nigeriane.Après la première vague des écrivains à majorité Igbo qui ont écrit sur le conflit, tels que Chukwuemeka Ike avec Sunset at Dawn (1979), Buchi Emecheta (1983), Chimamanda Ngozi Adichie reprend le thème de cette guerre sans apologie. Cette nouvelle façon d’écrire le sujet de la guerre du Biafra se veut thérapeutique et réconciliatrice.Ce travail analyse le traitement de la guerre du Biafra à travers le prisme de la Déesse Mammy Water, divinité de la cosmologie Igbo. Chimamanda Ngozi Adichie appartient à la communauté Igbo<br>The theme of the Nigerian civil war which lasted from 1967 to 1970, also called the Biafra war remains one of the major theme of the nigerian literature. The events that led to the war after the country’s independance point to a post-colonial period where national building is still worked up on along ethnic and religious lines. In 1970, the end of the conflict starts a new era still affected by all the issues that led to the war still visible in the different regimes leading the federation. Moreover, the conflict became a taboo topic that needed to be erased from individual as well as the nigerian collective memory.After the first wave of writers mainly from Igbo descent who wrote about the war such as Chukwuemeka Ike with Sunset at Dawn (1979), Buchi Emecheta (1983), Chimamanda Ngozi Adichie takes up the theme of the war unapologetically. Her way of writing the war ultimately wants to be the therapeutical and inclusive for all nigerians.This study analyzes the Biafran war through the prism of Mammy Water, the water goddess in the Igbo cosmology. Chimamanda Ngozi Adichie belongs to the Igbo community
47
Jones, Rebecca Katherine. "Writing domestic travel in Yoruba and English print culture, southwestern Nigeria, 1914-2014." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5249/.
Full textAbstract:
Travel writing criticism has sometimes suggested that little travel writing has been produced by Africans. This thesis shows that this is not the case, through a literary study of writing about travel published in Yoruba-speaking southwestern Nigeria between 1914 and 2014. This is a study of writing about domestic travel – Nigerians travelling within Nigeria – and of both Yoruba- and English-language texts. It is both a study of conventional ‘travel writing’ such as first-person travelogues, and of the motif of travel in writing more broadly: it encompasses serialised newspaper columns, historical writing, novels, autobiography, book-length travelogues and online writing. As well as close readings, this study draws on archival research and an in-depth interview with travel writer Pelu Awofeso. This is not an exhaustive study but rather a series of case studies, placed in their historical context. I examine southwestern Nigerian writers’ re resentations of laces within Nigeria and changing communal identities: local, translocal, regional and national. I explore their ideas about the benefits of travel and travel writing, knowledge and cosmopolitanism. I argue that we can read these texts as products of a local print culture, addressed to local readers, as well as in relation to the broader travel writing tradition.
48
Compton, Marissa Deane. "The Living River: Ritual and Reconciliation in The Famished Road." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6816.
Full textAbstract:
In Ben Okri's The Famished Road, rituals such as baptism are easily lost in the dense symbolism. The novel is, in the words of Douglas McCabe, a "ramshackle and untidy affair, a hodge-podge of social ideologies, narrative forms, effusive enthusiasms, and precision-jeweled prose poems" (McCabe 17). This complex untidiness can be discouraging for readers and critics alike, and yet "there is something contagious about the digressive, meandering aesthetic of The Famished Road" that makes the novel difficult to consign to confusion (Omhovere 59). Commonly considered post-colonial, post-modern, and magical-realist, The Famished Road deals with, among other things, spiritualism, family relations, and political and sociological tensions in Nigeria in the decades before its publication in 1991. These themes are depicted with a rush of symbols, and in such a clamor, baptism and other rituals may have trouble making themselves heard. And yet, paying attention to the repeated performance of baptism transforms this audacious, ramshackle novel into a story of liminality, alienation, and reconciliation, a story which celebrates these things as inevitable and necessary parts of life. As readers, we can use baptism to decode The Famished Road. In doing so, the novel develops a cyclical, ongoing narrative focused on the difficulties of and increased agency in liminality and the necessity of ritual, on an individual, familial, and socio-cultural level, in navigating that in-betweeness. I will begin by exploring baptism in The Famished Road in order to understand the performance and power of ritual. Here, ritual acts as a doorway, giving characters a chance to navigate liminality without removing themselves from it. This navigation gives them an increased understanding of how the world works and how they may operate in it. After exploring baptism as a ritual, I will examine Okri's "universal abikuism" and its connection to the flexibility of liminality.
49
Peters, Audrey D. "Fatherhood and Fatherland in Chimamanda Adichie's "Purple Hibiscus"." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1769.
Full textAbstract:
Purple Hibiscus, a novel by third-generation Nigerian author Chimamanda Adichie, appears at first glance to be a simple work of adolescent fiction, a bildungsroman in which a pair of siblings navigate the typical challenges of incipient adulthood: social ostracism, an abusive parent, emerging desire. However, the novel's setting-a revolutionary-era Nigeria-is clearly intended to evoke post-Biafra Nigeria, itself the setting of Adichie's other major work, Half of a Yellow Sun. This setting takes Purple Hibiscus beyond the scope of most modern adolescent fiction, creating a complex allegory in which the emergence of self and struggle for identity of the Achike siblings represent Nigeria's own struggle for identity. Adichie achieves this allegory by allowing the father figures of the novel to represent the different political paths Nigeria could have followed in its post-colonial period. The Achike siblings' identities develop through interactions with each of these patriarchs.
50
Morais, Thayane de Araújo. "Há coisas em volta do teu pescoço: questões de gênero em Chimamanda Ngozi Adichie." PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM, 2017. https://repositorio.ufrn.br/jspui/handle/123456789/25095.
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Previous issue date: 2017-07-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A literatura africana, em sua poeticidade insubmissa, tem proporcionado abertura de
espaços nos quais a configuração heterogênea dos países africanos estabelece as bases
propícias para uma reflexão crítica do papel da literatura no mundo contemporâneo. A
literatura escrita por mulheres emerge a partir das desleituras dos sujeitos subalternos
silenciados, em um movimento que ressalta a especificidade subjetiva, ao passo que
intensifica a desconstrução promovida pela produção artística periférica. Localizando nesse
contexto a criação literária das mulheres africanas, evidencia-se o questionamento aos
aparatos opressivos, diante da escrita que reúne tradição ancestral e herança colonial no
labirinto das negociações culturais fundantes. Em meio a uma nova ordem mundial, na
qual os direitos humanos estão sendo a cada dia oprimidos, silenciados, voltamo-nos à voz
feminina articulada pelo texto literário de Chimamanda Ngozi Adichie. Em um território
marcado pela violência e pelo machismo, a jovem escritora nigeriana avulta uma crítica
incisiva à subalternidade do sujeito feminino na literatura. Por meio de um discurso que
traduz aspectos da cultura nigeriana e americana, Adichie contesta a condição opressiva
imposta à mulher pelo poder hegemônico masculinizado. Em virtude da multiplicidade
observada na caracterização da mulher nigeriana, em poética embebida de sinestesias,
apresenta-se uma análise da coletânea de contos A coisa à volta do teu pescoço (2012), ao
se abordar as problemáticas que incidem nas personagens. Considera-se para isso uma
conjuntura histórica e cultural que revela na forma de contar o anseio de as mulheres
protagonizarem um destino histórico de silenciamento. Nessa perspectiva, inqueriu-se
sobre os papéis de gênero e os elementos interseccionais – como raça, classe, discurso,
poder, instâncias culturais – que traduzem um diálogo trans-semiótico com as questões de
gênero. Ao se trabalhar com conceitos culturais inacabados, constata-se que a transgressão
dos lugares opressivos reservados à mulher nigeriana ainda são mínimos. Observou-se
também como a formação de uma consciência crítica que permita uma revisão da situação
de violência e exclusão da mulher ainda é um grande desafio no início do século XXI.
Como base para as considerações, e por meio de pesquisa bibliográfica, seguiu-se pelos
caminhos das teorias literárias de cunho feminista de acordo com as reflexões de Gayatri
Chakravorty Spivak (2014), Angela Y. Davis (2016) e Chimamanda Ngozi Adichie (2015),
esta última, no que concerne ao seu pensar acerca da cultura, unindo consciência política
ao trabalho estético.<br>African Literature, in its unsubmissive poeticity, has proportionate the opening spaces
where heterogeneous configuration from the African countries lays the foundations for the
critical reflection about the role of literature in contemporary world. Literature written by
women emerges from unlearnings of silenced subalterns subjects, across a movement that
stands out subjective specificity, awhile intensifies deconstruction promoted by peripheral
artistic production. Located in this context, literary creation of African women, is evident
the questions around oppressive devices before writing that meets ancestral tradition and
colonial heritage into the maze of negotiations of cultural foundations. In between a new
world order, which human rights are oppressed every day, silenced, we return to female
voice articulated by the literary text of Chimamanda Ngozi Adichie. In a territory marked
by violence and male chauvinism, the young Nigerian writer emphasizes an incisive
criticism to the subalternity of female subject in literature. By means of a speech that
translates aspects of American and Nigerian culture, Adichie answers the oppressive
condition imposed to woman by the hegemonic male power. By virtue of observed
multiplicity on Nigerian woman description, in poetic embedded in synesthesia, presents
an analysis of a collection of short stories The thing around your neck (2012), approaching
problematics focused on the characters. It is considered for that a cultural and historical
conjuncture which reveals in its form of telling the women’s urge to protagonize a historic
destiny of silencing. In this perspective, it was inquired about gender roles and the
intersectional elements – such as race, class, discourse, power, cultural instances – that
translate a trans-semiotic dialogue with gender issues. While working with unfinished
cultural concepts, it is verified that transgression of oppressive places reserved to Nigerian
woman are minimal. It was also verified how a critical awareness formation that permits a
review of the situation of violence and exclusion of woman is still a great challenge in the
beginning of XXI century. As a basis of our considerations, and through bibliographic
research, we follow the paths of feminist literary theories according to reflections of
Gayatri Chakravorty Spivak (2014), Angela Y. Davis (2016) and Chimamanda Ngozi
Adichie (2015), the latest, as far as her thinking about culture, uniting political
consciousness to aesthetic work.