Relevant bibliographies by topics / Nigerian writers

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Nigerian writers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Nigerian writers"

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Onwuemene, Michael C. "Limits of Transliteration: Nigerian Writers' Endeavors toward a National Literary Language." PMLA/Publications of the Modern Language Association of America 114, no. 5 (October 1999): 1055–66. http://dx.doi.org/10.2307/463464.

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The multiethnic and multilingual character of Nigeria compelled the country's writers to use some form of English, but standard imperial English was not long acceptable to patriotic Nigerians. So Nigeria must develop for its literature an English whose norms were created by Nigerians in response to the special circumstances in their country. Such an English (Nigerian Pidgin) existed at the time of independence, but because it was maligned, the first generation of Nigerian writers sought a more respectable English literary medium. Hence they devised the strategy of “transliteration”—introducing ethnic-language tropes and idioms into the English text. But transliteration was a flawed approach, and its literary output, in a language only marginally different from imperial English, remained inappropriate in Nigeria. Even so, the strategy served the desired goal by demystifying standard English. As a result, Nigerian Pidgin is coming into its own as a literary medium, and Nigerian writers are taking greater liberties in their reconstitution of English.
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Nwagbara, Uzoechi. "Earth in the Balance The Commodification of the Environment in and." Matatu 40, no. 1 (December 1, 2012): 61–79. http://dx.doi.org/10.1163/18757421-040001005.

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Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is “man meaning to man.” For Ojaide, a creative writer is not “an airplant” that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection (1986) and Tanure Ojaide's (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls “semantics of terrestiality”: i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: and interrogate the despicable state of Nigeria's environment as a consequence of global capitalism.
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Kehinde, Ayo. "Rulers agains writers, writers against rules : the failed promise of the public sphere in postcolonial Nigerian fiction." Journal of English Studies 8 (May 29, 2010): 73. http://dx.doi.org/10.18172/jes.149.

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Various literary critics have dwelt on the nature, tenets and trends of commitment in Nigerian literature. However, there is paucity of studies on the imaginative narration of the impediments facing the actualization of the public sphere in postcolonial Nigeria. This paper examines the strategies and techniques of representing the failed promise of the public sphere in postcolonial Nigerian fiction, using the examples provided by Chinua Achebe’s Anthills of the Savannah, Ben Okri’s The Famished Road and Chimamanda Ngozi Adichie’s Purple Hibiscus. The methodology involves a close reading of the selected texts, using Jurgen Habermas’ Public Sphere as analytical concept. In the selected novels, Nigeria is depicted as a country where the rulers disallow the existence of the ‘public sphere’, which is supposed to provide a liminal space among the private realms of civil society and the family, as well as the sphere of public authority. This is disclosed in the refusal of the characters, who typify the rulers, to disregard status altogether.
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Ogoke, Chinedu. "Import of family and peers in a writer’s life." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 362–73. http://dx.doi.org/10.4314/ejotmas.v7i1-2.24.

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A writer anywhere must have roots and familial relationships. In a general sense, it is the energy derived from friends, family or society that drives the human spirit. A major role the family has in the life of a writer is giving him or her space. What this means is that a literaryfriendly family will not come between the writer and his/her writing. When he/she is engaged with writing, the writer’s family excuses him/ her from domestic and other duties. It is also beneficial when the writer is surrounded by a wife/husband and children who are wonderful readers. It is the relevance of the family that inspired this research. The paper investigates how culture, society and the family are significant in the life of every man or woman. It focuses on the experiences of writers in their home countries and overseas. The author discovered that writers in 17th century Europe worked closely together. The practice has hardly caught on among Nigerian writers. The writer could hardly find instances to prove otherwise. It is intended in this work, therefore, to highlight this shortcoming and to show how it contributes to the attainment of desired goals in the writer’s literary endeavours. The bulk of the data for this study was collected through listening to stories of writers and also reading various comments in newspapers and other publications. Keywords: Language and culture, Family and peers, Pedagogy, Spousal problems, Writers’ life
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Gavristova, Tatiana M. "Nigeria as a country of stories." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 15, no. 2 (June 11, 2021): 152. http://dx.doi.org/10.18255/1996-5648-2021-2-152-163.

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The article is dedicated to the phenomenon of storytelling and its evolution in the context of globalization and digitalization. The choice of Nigeria as an object of study is not accidental. The oral tradition in Nigeria has developed dynamically over the centuries. Nigerian literature is considered to be a successor of the traditions of world classics. It was the writers - the «children of Herodotus» - who assumed the function of recording and relaying stories that, being biased, led to the destruction of a number of stereotypes regarding Africa and Africans. The traditions of storytelling appeared in literature and journalism, in television and radio broadcasting, across In-ternet. Nigerians have become active participants in TED conferences. Storytelling in Nigeria has become a profession. Within its framework, famous writers, including women, found application, overthrowing gender inequality.
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Opara, Chioma. "Buchi Emecheta (1944-2017): Beyond the dingy ditch." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 250–52. http://dx.doi.org/10.17159/tvl.v.54i1.17.

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The media have in the past weeks been awash with the sudden demise of a great female writer, activist and publisher—Buchi Emecheta—on 25 January 2017 in London. Nigerians and, indeed, scholars all over the world have not yet recovered from their shock at the loss of two Nigerian literary giants, Elechi Amadi and Isidore Okpewho, only recently in 2016. And now another fatal blow has been dealt on the literary sphere at the dawn of a brand new year. It may be necessary to note that Buchi Emecheta passed on the heels of Isidore Okpewho’s death (an interval of just four months). Both were, incidentally, from Delta State. In fact, the three deceased writers—Amadi, Okpewho and Emecheta came originally from the oil-rich Niger Delta region of Nigeria.
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Afejuku, Tony E., and E. B. Adeleke. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 49, no. 1 (2017): 54–71. http://dx.doi.org/10.1163/18757421-04901004.

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Femi Osofisan belongs to the new breed of writers, inadequately referred to as the ‘second generation of writers’. An accomplished writer whose works include plays, poems, essays, and novels, Osofisan is widely regarded as the most significant playwright in Africa after Soyinka. As a committed playwright, Osofisan focuses on the reappraisal of his immediate society and the challenges of living in this society. He calls attention to all that is undesirable in the politics, economy, and religion of contemporary Nigeria and asks for a change of attitude which, hopefully, will bring sanity to the country. One of the means by which Osofisan achieves his artistic objective is the use of lore from Yorùbá mythology. Specifically, we shall show in this essay that Osofisan makes use of the myths of Ṣango and Èṣù and the legends of Môrèmi and Solarin as a means of thematic exploitation. By so doing, he creates a unique contemporary Nigerian theatre which other playwrights emulate and develop. We shall use Many Colours Make the Thunder King, Esu and the Vagabond Minstrels, Morountodun, and Who’s Afraid of Solarin? as our illustrative texts.
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Ayoola, Kehinde A. "Challenges to a new generation of Nigerian writers in English." English Today 22, no. 1 (January 2006): 3–9. http://dx.doi.org/10.1017/s0266078406001027.

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THIS PAPER recounts the challenges faced by young Nigerian writers in a climate that is hostile to new authors. The experience presented and discussed here epitomises both the dilemma and the experiences of the new generation of creative writers. The problem of language choice – English or a mother tongue – is re-examined, while exploring the various reasons, noble and not so noble, behind such matters as: choice of genre, the new writer’s response to democracy and globalization, the problem of audience recognition, and the failure of do-it-yourself publishing and marketing.
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Ike, Onyeka. "The utilization of literary techniques in Flora Nwapa’s Never Again and Chimamanda Adichie’s Half of a Yellow Sun." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 129–52. http://dx.doi.org/10.4314/ejotmas.v7i1-2.9.

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This research investigates the utilization of literary techniques in two Nigerian historical fictions: Never Again by Flora Nwapa and Half of a Yellow Sun by Chimamanda Adichie. Nwapa and Adichie are two creative writers belonging to two different generations of Nigerian writers. While the former is of the first, the latter is of the third generation. In their two different novels in focus, it is observed that they deployed diverse literary techniques in variegated fashions to achieve the same goal – creating fictional works that deal with the sensitive issues of the Nigerian Civil War. Using new historicism (NH) as its theoretical anchor, this study uses historical-analytic and literary methods to posit that no two creative writers apply literary techniques in an identical manner even when their subject matter is the same. Rather, the deployment of literary tools is usually a function of talent, training, idiosyncrasies, orientation and propensities of a particular author. It is, of course, the patterns of such deployments that create and confer identity and uniqueness to various writers across the globe, such that when a section of the work of a known author is read, his or her name comes to mind. Using New Historicism as a critical searchlight, this paper evaluates compares and contrasts the utilization of literary techniques in the two novels aforementioned. Both writers have utilized literary elements in various ways to foreground and portray the cancerous issues of corruption, ethnicity, nepotism and avarice – the issues that led to the unfortunate and devastating Civil War, and till today continues to limit the progress of Nigeria. Keywords: Literary techniques, NH, Never Again, Nigerian Civil War, Half of a Yellow Sun
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Zachernuk, Philip S. "Of Origins and Colonial Order: Southern Nigerian Historians and the ‘Hamitic Hypothesis’ c. 1870–1970." Journal of African History 35, no. 3 (November 1994): 427–55. http://dx.doi.org/10.1017/s0021853700026785.

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The professional Nigerian nationalist historiography which emerged in reaction against the imperialist Hamitic Hypothesis – the assertion that Africa's history had been made only by foreigners – is rooted in a complex West African tradition of critical dialogue with European ideas. From the mid-nineteenth century, western-educated Africans have re-worked European ideas into distinctive Hamitic Hypotheses suited to their colonial location. This account developed within the constraints set by changing European and African-American ideas about West African origins and the evolving character of the Nigerian intelligentsia. West Africans first identified themselves not as victims of Hamitic invasion but as the degenerate heirs of classical civilizations, to establish their potential to create a modern, Christian society. At the turn of the century various authors argued for past development within West Africa rather than mere degeneration. Edward Blyden appropriated African-American thought to posit a distinct racial history. Samuel Johnson elaborated on Yoruba traditions of a golden age. Inter-war writers such as J. O. Lucas and Ladipo Solanke built on both arguments, but as race science declined they again invoked universal historical patterns. Facing the arrival of Nigeria as a nation-state, later writers such as S. O. Biobaku developed these ideas to argue that Hamitic invasions had created Nigeria's proto-national culture. In the heightened identity politics of the 1950s, local historians adopted Hamites to compete for historical primacy among Nigerian communities. The Hamitic Hypothesis declined in post-colonial conditions, in part because the concern to define ultimate identities along a colonial axis was displaced by the need to understand identity politics within the Nigerian sphere. The Nigerian Hamitic Hypothesis had a complex career, promoting élite ambitions, Christian identities, Nigerian nationalism and communal rivalries. New treatments of African colonial historiography – and intellectual history – must incorporate the complexities illus-trated here.
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Dissertations / Theses on the topic "Nigerian writers"

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Khunwane, Mapula Rosina. "A Comparative Analysis of the influence of Folklore on the works of the following African writers: Chinua Achebe, Eskia Mphahlele, Ngungi wa Thiongo' and Andrew Nkadimeng: An Afrocentric approach." Thesis, 2018. http://hdl.handle.net/11602/1283.

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PhD (African Studies)
Centre for African Studies
African authors play a significant role in passing on African folklore. Their writing is often influenced by their lived experiences and the social context embedded within folklore. Folklore houses the cultural beliefs, customs and traditions of a society and is passed on from one generation to the next through oral and written literature. Many African authors’ works instil an appreciation of people’s African identity, customs and beliefs. The aim of this study was to explore the extent to which folklore had influenced the writings of four selected African authors: Chinua Achebe, a renowned author from Nigeria, Ngũgĩ wa Thiongʹo from Kenya, Es’kia Mphahlele and Andrew Nkadimeng, both from South Africa. These African authors, who chose to write their stories in English rather than in their African language, were influenced by the folklore they were exposed to in their upbringing. The objective of the study was to identify various aspects of folklore and demonstrate how folklore had remained entrenched in the writings of these African authors, despite the fact that they were telling their stories in the English language. The research was qualitative in nature and a hermeneutic research method was used to describe and interpret the meaning of texts as used by the authors and to explore the influence of folklore in the text. The study will be a useful resource for teachers in the Further Education and Training (FET) band in schools (grade 10 to 12) which includes folklore studies as part of its syllabus. Currently, folklore is studied in schools only in terms of Oral Literature. However, Oral Literature is just one aspect of folklore, as is discussed in this study. The study will also contribute towards efforts to re-establish Africans’ dignity and identity
NRF
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Lunga, Majahana John Chonsi. "A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues." Diss., 1994. http://hdl.handle.net/10500/17262.

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This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that Soyinka, far from being an irrelevant artist as some of his fiercest critics have alleged, is a deeply committed writer whose works are characterised by a strong sense of concern with basic human values of right and wrong, good and evil. Furthermore, the dissertation shows that although Soyinka is not an admirer of Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either, I because he is fully aware of the utilitarian value of literature. Soyinka's works are much influenced by his social and historical background, and the dissertation shows that Soyinka's socio-political awareness pervades all these works, although it will be seen that in the later plays there is a sharpened political awareness. Although largely concerned with his own country's issues, Soyinka also emerges as a keen observer of humanity universally
English Studies
M.A. (English)
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Books on the topic "Nigerian writers"

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Writers in Oyo Ana. Ibadan: Creative Books in collaboration with Ebiks Theatre Studio, 2005.

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Olu, Obafemi. Nigerian writers on the Nigerian Civil War: Anguish, commitment, catharsis. [Nigeria]: J. Olu Olatiregun Co., 1992.

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Onyemelukwe, I. M. The French language and literary creativity in Nigeria: Nigerian writers in French. Zaria, Nigeria: Labelle Educational Publishers, 2004.

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Sani, Abba Aliyu. Creative writing, writers, and publishing in Northern Nigeria. Ibadan: IFRA, 1997.

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Bearing witness: Readers, writers, and the novel in Nigeria. Princeton, N.J: Princeton University Press, 2000.

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African women's literature, orature, and intertextuality: Igbo oral narratives as Nigerian women writers' models and objects of writing back. Bayreuth: Bayreuth University, 1998.

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Derek, Wright. Wole Soyinka revisted. New York: Twayne, 1993.

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C, Otokunefor Henrietta, and Nwodo Obiageli C, eds. Nigerian female writers: A critical perspective. Lagos: Malthouse Press, 1989.

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Ohaeto, Ezenwa. Winging Words. Interviews With Nigerian Writers And Critics. Kraft Books Limited, 2004.

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Otokunefor, H. C. Nigerian Female Writers: A Critical Perspective (Malthouse Literary Series). Malthouse Press, 1991.

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Book chapters on the topic "Nigerian writers"

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Adesanmi, Pius. "Arrested Nationalism, Imposed Transnationalism, and the African Literature Classroom: One Nigerian Writer’s Learning Curve." In West African Migrations, 247–61. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012005_10.

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Uimonen, Paula. "Prologue: Ethnography of Flora Nwapa and Nigerian Women Writers." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 1–28. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.a.

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Udoh, Anthony Paul, and Anietie Solomon Etteyit. "Nollywood Video Films and the Nigerian Image Crisis." In Advances in Media, Entertainment, and the Arts, 207–24. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9821-3.ch008.

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Mass media platforms, especially the video film, have been seen as potent tools for image construction or identity molding of any society. However, there are indications that the Nigerian movie industry has rather magnified the negative aspects of Nigeria, with the resultant image crisis for the country and its citizens. This chapter evaluates the role of Nollywood video films in the image crisis of Nigeria. Ten home videos were purposively selected from the collection of different producers. The findings show that the thematic characteristic styles of Nollywood are largely responsible for the image crisis of Nigeria and do more harm than good to its citizens. From the findings, it was recommended that script writers and movie producers in Nollywood should be alerted to the reality that their movies could negatively impact the image of the society, and should therefore make concerted efforts to mirror more of the positive aspects of the society and avoid creating image crisis for the country.
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Uimonen, Paula. "Cultural Tangles in Lagos." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 29–60. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.b.

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Uimonen, Paula. "Feminist Controversies in Maiduguri." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 61–96. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.c.

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Uimonen, Paula. "Celebrating Children in Abuja." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 97–128. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.d.

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Uimonen, Paula. "Post-War Publishing in Enugu." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 129–60. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.e.

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Uimonen, Paula. "Culture and Relationality in Owerri." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 161–90. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.f.

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Uimonen, Paula. "Sacred Waters in Oguta." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 191–212. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.g.

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Uimonen, Paula. "Epilogue: Revisiting Oguta and Thanking Ogbuide." In Invoking Flora Nwapa: Nigerian women writers, femininity and spirituality in world literature, 213–24. Stockholm University Press, 2020. http://dx.doi.org/10.16993/bbe.h.

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