Relevant bibliographies by topics / Nigerian Novelists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Nigerian Novelists'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Nigerian Novelists"

1

Ibhawaegbele, Faith O., and J. N. Edokpayi. "Situational Variables in Chimamanda Adichie's and Chinua Achebe's." Matatu 40, no. 1 (2012): 191–208. http://dx.doi.org/10.1163/18757421-040001012.

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The use of the English language for literary creation has been the bane of Nigerian literature. Nigeria has a very complex linguistic system; as a result, its citizens communicate either in their indigenous languages or in English, depending on the situation in which they find themselves. The use of English in Nigerian literature in general and prose fiction in particular is influenced by both linguistic and extralinguistic factors. In their attempt to offer solutions to the problems of language in literary expression, Nigerian novelists adapt English to varying linguistic and socio-cultural contexts. This has resulted in experimentation and the employment of various creative-stylistic strategies and devices in prose fiction. Our focus in this essay is on the conditioning influences of situational variables on the language and styles of Nigerian novelists, with Chimamanda Adichie and Chinua Achebe as a case study. We shall examine and explicate how situational variables influence and impose constraints on the language and styles of novelists, and how they adapt English, which is in contact with the various indigenous languages, to the varying local Nigerian situations and experiences.
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Nureni, Ibrahim. "Religious bigotry and military despotism in Olukorede S. Yishau’s In the Name of Our Father." Global Journal of Sociology: Current Issues 10, no. 2 (2020): 32–39. http://dx.doi.org/10.18844/gjs.v10i2.4539.

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Although religious bigotry and military tyranny have been overtly delineated by the first and second generation novelists, especially the ones who witnessed the military maladministration in Nigeria, the contemporary Nigerian novelist also attempts to contribute and provide with more resources on the rights of the people and the liberty to be free from the imposition of religious and/or political doctrines that are socially constructed upon the people. In the Nigerian context, religious and political/military despotism are considered to go hand in hand since their ideologies formulate part of the hegemonic, determinist superstructures that push the masses to be at the corner of receiving end. Within Nigeria’s copious output of literature written in English, this paper, using Yishau’s debut novel In the Name of Our Father as a case study, attempts to develop a bird’s eye view of the religious and military issues in Nigerian society. Adopting the praxis of Marxist critical thinking, this paper acknowledges how the author, Yishau, allows his intellectual capacity in the form of a novel to direct his writing in relation to the religious bigotry and military despotism that spearheaded Nigerian society, most significantly in the military regime between 1966 and 1999. The outcome of this paper is that Yishau has accorded a pedigree for himself on the shore of Nigerian novels by leveraging critical attention to unfold the thematic precepts of religious bigotry and military despotism in his first literary, textual appearance. Keywords: Religious bigotry, military despotism, Nigerian novel.
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King, Bruce, and Adewale Maja-Pearce. "A Mask Dancing: Nigerian Novelists of the Eighties." World Literature Today 67, no. 3 (1993): 659. http://dx.doi.org/10.2307/40149514.

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4

Thanwan Rustam, IAneed. "Chinua Achebe's No Longer at Ease: The Conflict of Values in Post-colonial History of Nigeria." Journal of Education College Wasit University 48, no. 1 (2022): 403–18. http://dx.doi.org/10.31185/eduj.vol48.iss1.3002.

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As a reaction to the European dominance on the African continent, African novelists showed a nationalistic feeling in their novels, and this national awareness gave them the opportunity to present the contemporary African experience. In the region that was occupied by the British, Nigeria in particular, the novelists’ interest was to show the impacts of the settlement period on the peoples of that region. Chinua Achebe was one of the most prominent Nigerian novelists who dedicated their novels to represent the psychological, social and cultural conflicts that Africans experienced as a result of the European intrusion into African life. The events and scenes of his novels were taken more from the reality of African life than from the world of imagination. His No Longer at Ease provides a critique of post-independence Nigerian life and an assessment of what it inherited from the European settler. The events of the novel deal with an African young man and the crisis he experienced as a result of the conflict between the European intellectual culture that he acquired during his studies in England and what he inherited of tribal and family traditions and values. The novel reveals the protagonist's lack of the moral courage to face the pressures of the conflict between the European materialistic ideals and the African traditions, which leads to his failure and moral downfall. The novel thus becomes an invitation, on the level of values ​​, for an assessment of the behavior of the cultural elite that will take over the leadership of modern Nigeria and their ways to deal with the legacy of settlement.
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Sil, Narasingha P. "Nigerian Intellectuals and Socialism: Retrospect and Prospect." Journal of Modern African Studies 31, no. 3 (1993): 361–85. http://dx.doi.org/10.1017/s0022278x0001199x.

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Many Nigerian intellectuals have persisted in their enthusiasm for a socialist revolution. Historians, political scientists, sociologists, economists, novelists, and playwrights in the universities have presented a Marxist critique of the political economy and society, and variously sought to provide a socialist solution to the multiple ills of their country. For example, in November 1985, Tunji Braithwaite was insisting that ‘socialism is the way out’ of the political and economic impasse besetting the nation, while Krees Imodibie was claiming that the Nigerian social ethos expressed the essential precepts of socialism. Even the National Political Bureau appointed in 1986 by President Ibrahim Babangida to devise the blueprint of a civilian government for the 1990s recommended, albeit rejected by the Armed Forces Ruling Council, ‘that Nigeria should adopt a socialist socio-economic system’.
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Adepitan, Titi, Margaret Laurence, and Nora Foster Stovel. "Long Drums and Cannons: Nigerian Dramatists and Novelists 1952-1966." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 37, no. 1 (2003): 173. http://dx.doi.org/10.2307/4107387.

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7

Anyanwu, Patricia Ngozi. "CRISES OF IDENTITY OFTHE NIGERIAN BORN MULATTO: A POST COLONIALINTERTEXTUALREADING OFTHREE NIGERIAN NOVELS." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 128–37. http://dx.doi.org/10.56666/ahyu.v2i.87.

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With its emergence in the eighteenth century age of empirical realism, the novel has consistently maintained its reputation as a vehicle for the realistic portrayal of everyday life experiences of ordinary men and women in lived human communities. This verisimilitude of real life experiences to issues portrayed in the novel is also encapsulated in the scholarship of the Nigerian Novel. The Nigerian novel has recently begun to focus its attention on the challenges of Nigerian born biracial children. This paper examines the manifestations of crises of identity in the lives of three biracial female children, popularly known as mulatto, half caste, Yellow or African profit, as portrayed in three Nigerian novels namely Chukwuemeka Ike's Our Children Are Coming, Sefi Atta's Everything Good Will Come, and KaineAgary's Yellow-Yellow. Through the portrayal of everyday life experiences of this growing population of race with half Nigerian parents, who are domiciled in Nigeria, these three novelists have not only raised our consciousness on their membership of our shared identity in the Nigerian nation, but also, given an accurate insight to their birth circumstances, frustrations and bleak future.Using the postcolonial theoretical framework, as well as the qualitative research methodology, this paper brings to the fore, issues of cultural contacts, conjugal liaisons betweenNigerians and Europeans, as well as the fate of the products of these inter-racial intimate relationships.
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8

Adewumi, Samuel. "EFFECTS OF ENVIRONMENTAL DESECRATION: AN ECOCRITICAL READING OF KAINE AGARY’S YELLOW YELLOW." Journal of English Language and Literature 09, no. 03 (2022): 74–79. http://dx.doi.org/10.54513/joell.2022.9308.

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No doubt, numerous scholars have carried researches out on Nigeria’s squalid state after her independence. The focus of many of these studies range from investigating many of the topical issues that have come to define the country— from war, economy, to politicking. However, not many scholars have paid the enough attention to the ecological concerns of Nigerians. This paper, therefore, examines Kaine Agary’s Yellow Yellow as a testament to the environmental mindfulness of Kaine Agary, Nigerian novelists. The choice of this text is informed by the fact that there is a dearth of serious scholarly research on the novel. Using the theory of Ecocriticism, this study finds out that the author, Agary, is not unaware of the ecological implications of man’s exploitative tendencies on earth’s resources. In fact, he uses his work to berate these forces that promote the unchecked desecration of the mother earth, using the Niger Delta region of Nigeria as a case study.
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9

Wright, Derek. "Whither Nigerian Fiction? Into the Nineties." Journal of Modern African Studies 33, no. 2 (1995): 315–32. http://dx.doi.org/10.1017/s0022278x00021091.

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Adewale Maja-Pearce is an iconoclastic Nigerian critic who has dethroned a number of literary reputations, and his 1992 book, on Nigerian fiction of the 1980s, is only a few pages old when some venerated literary figures come into the sights of his polemic. Chief among these are Chinua Achebe and Elechi Amadi, whose early novels are seen to construct nostalgic traditional world-views on discredited superstitions and ‘degraded fetishism’. Maja-Pearce's real target in A Mask Dancing, however, is not the first wave of anglophone Nigerian novelists of the 1950s and early 1960s, but the writers of his own generation, and his concern is as much with the manner as with the matter of the writing.
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10

Griswold, Wendy. "Long Drums and Cannons: Nigerian Dramatists and Novelists, 1952-1966 (review)." Research in African Literatures 34, no. 2 (2003): 216–17. http://dx.doi.org/10.1353/ral.2003.0030.

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Dissertations / Theses on the topic "Nigerian Novelists"

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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
Ph.D.
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.
Temple University--Theses
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2

Ellsworth, Kirstin Lynne. "Buchi Emecheta : a novelist's image of Nigerian women /." 1991. http://digitalcommons.butler.edu/ugtheses/12/.

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Books on the topic "Nigerian Novelists"

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A mask dancing: Nigerian novelists of the eighties. Hans Zell Publishers, 1992.

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1942-, Stovel Nora Foster, ed. Long drums & cannons: Nigerian dramatists and novelists, 1952-1966. University of Alberta Press, 2001.

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Onifade, Depo. Ọladẹjọ Okediji: Yoruba novelist. Sefer, 2008.

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Ọladẹjọ Okediji: Yoruba novelist. Sefer, 2008.

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Adeghe, Ada. The female imagination: A study of three Nigerian women novelists. University of Birmingham, 1994.

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Orie, Chibueze Prince. Who is a woman being?: 21st century Nigerian female debut novels. Samdrew Productions, 2011.

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Three great African novelists: Chinua Achebe, Wole Soyinka & Amos Tutuola. Creative Books, 2001.

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Passion and prejudice. Teepeedee Paperbacks, 1985.

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9

Harold, Bloom, ed. Chinua Achebe's Things fall apart. Chelsea House Publishers, 2002.

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Harold, Bloom, ed. Chinua Achebe's Things fall apart. Bloom's Literary Criticism, 2009.

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Book chapters on the topic "Nigerian Novelists"

1

Nault, Derrick M. "Conclusion." In Africa and the Shaping of International Human Rights. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859628.003.0007.

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Novelist Chimamanda Adichie, in a popular 2009 TED Talk, warns of the ‘danger of a single story’ when discussing people and places.1 She recalls how, as a young girl in Nigeria, she read British and American children’s books in which the main characters were white, had blue eyes, ate apples, played in the snow, and talked about the weather. Yet in her country people ate mangoes, it never snowed, and the weather was rarely a topic of conversation. When she finally was able to read African literature—in which young girls like her with dark skin and Afro-textured hair could be characters—she was deeply moved. She realized other stories existed than the ones to which she had first been exposed....
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