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Journal articles on the topic 'Nigerian writers'
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1
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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Diakhate, Babacar. "The Ups and Downs of the Nigerian Society: A Satirical View on Socio-political Matters in Chimamanda Ngozi Adichie’s Purple Hibiscus (2004) and Sefi Atta’s a Bit of Difference (2013)." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (May 10, 2019): 1–6. http://dx.doi.org/10.33258/birci.v2i2.231.
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This paper aims to show the objectivity of Nigerian writers by portraying the ups and downs of their society. Indeed, in Sefi Atta’s a Bit of Difference and Chimamanda Ngozi Adichie’s Purple Hibiscus, the authors have done a diagnosis without complaisance of the bottlenecks that impede Nigeria from moving forwards. It also demonstrates that feminist activism can challenge a political military power. It finally displays that violence at universities; social injustice, corruption and mediocrity are the evils that characterized the Nigerian society.
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Ojo, Oluwasola Emmanuel. "Hedges and Boosters as Modality Markers: An Analysis of Nigerian and American Editorials." k@ta 22, no. 2 (December 13, 2020): 55–62. http://dx.doi.org/10.9744/kata.22.2.55-62.
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Many studies have been carried out on the use of hedges and boosters as persuasive strategies, but little is known about their employment when texts such as editorials are compared cross culturally. This study comparatively examined the employment of modality markers to express doubt and conviction in Nigerian and American editorials. Farrokhi and Emami’s (2008) classification of hedges and boosters was employed to analyze twenty editorials selected from two Nigerian newspapers and two American newspapers. Findings reveal that both sets of editorial writers made use of hedges and boosters a lot in their writings. However, lexical verbs were not employed as boosters in the analyzed editorials. The fact that the Nigerian editorial writers as ESL writers equally made great use of hedges and boosters implies that in texts such as editorials, writers from different cultures equally employ the same linguistic devices to express doubt and conviction.
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Egejuru, Phanuel Akubueze, Henrietta C. Otokunefor, and Obiageli C. Nwodo. "Unfulfilled Potential: Nigerian Female Writers: A Critical Perspective." Callaloo 16, no. 1 (1993): 275. http://dx.doi.org/10.2307/2931832.
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Kurtz, J. Roger, and Ezenwa-Ohaeto. "Winging Words: Interviews with Nigerian Writers and Critics." World Literature Today 79, no. 3/4 (2005): 83. http://dx.doi.org/10.2307/40158954.
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Diala. "A Writers' Body and the Nigerian Literary Tradition." Research in African Literatures 50, no. 4 (2020): 121. http://dx.doi.org/10.2979/reseafrilite.50.4.08.
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AFEJUKU, TONY E., and E. B. ADELEKE. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 47, no. 1 (August 22, 2016): 97–112. http://dx.doi.org/10.1163/18757421-90000397.
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Femi Osofisan belongs to the new breed of writers, inadequately referred to as ‘second generation’. 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 myths and legends from Yorùbá mythology. Specifically, we shall show in this essay that Osofisan makes use of the myths of OEango and Èṣú 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. Many Colours Make the Thunder King, Esu and the Vagabond Minstrels, Morountodun, and Who Is Afraid of Solarin? are used as illustrative texts.
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Ugochukwu, Françoise. "Essays in Honour of Wole Soyinka at 80, Ivor Agyeman-Duah (Ed.) - book review." Issue 1 1, no. 1 (June 12, 2018): 107–8. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a7.
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Wole Soyinka, best known as a Nigerian writer, playwright and Nobel laureate, has been a staunch supporter of the Nigerian cinema, and one of his plays, Death and the King’s horseman, is currently in the process of being adapted to the screen. He embodies the link between the Nigerian society, Yoruba culture and Nollywood. This book of essays in honour of Wole Soyinka’s life and works, offered to him on his 80th birthday, brings together a good number of contributions - short paragraphs, long essays, formal interviews, impromptu conversations and poems. The authors of these texts include a former general Commonwealth secretary, university dons from various fields, internationally acclaimed writers such as Ngugi, Aidoo or Mazrui, diplomats and politicians, journalists, students and personal friends.
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Borisova, Anna A., and Yulia N. Ebzeeva. "Gastronomic Vocabulary as a Feature of Nigerian English." Russian Journal of Linguistics 23, no. 3 (December 15, 2019): 820–36. http://dx.doi.org/10.22363/2312-9182-2019-23-3-820-836.
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The World Englishes Paradigm studies various aspects of the English language characterized by specific peculiarities and changing as a result of contacts with indigenous languages and cultures. The history of English in Nigeria embraces 500 years of an interaction between highly different cultural systems and civilizations. Language contacts between English and the indigenous languages of Nigeria have led to its linguistic, cultural and intrastructural diversity. The aim of this article is to analyse the gastronomic vocabulary of Nigerian English influenced by the Nigerian worldview and culture. The research is focused on borrowings from African languages (mainly Yoruba and Igbo) that play a vital role in forming the culturally important lexicon of Nigerian English. The sources of the research material are dictionaries, as well as books by Nigerian writers composed in English. The analysis carried out in the course of the research allowed us to discover secondary nominations that denote Nigerian flora and cuisine, to reveal their metaphorical usage and to study corresponding figurative comparisons, idioms, proverbs and sayings. The investigation of gastronomic symbols in Nigerian speech shows universal processes of employing common gastronomic lexical units from real-life discourse as a basis for symbolization. The results of the study show that the gastronomic vocabulary and the images it creates constitute one of the most impressive Nigerian cultural codes. The knowledge of this vocabulary is instrumental in understanding those codes.
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Owolabi, Dare. "Potential words in English: examples from morphological processes in Nigerian English." English Today 28, no. 2 (May 17, 2012): 47–50. http://dx.doi.org/10.1017/s0266078412000156.
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It is now common knowledge that the English language has become part of Nigeria's linguistic family, albeit as a second language that has been ‘home-grown…adapted and tamed to suit the Nigerian environment’ (Adegbija, 2004: 19). Summarizing Alamin A. Mazrui (2004), Akere (2006: 9) describes this domestication as ‘the transformation of English as an alien medium, to make it respond to local imagery, figures of speech, sound patterns and the general cultural milieu of the region’. This has been the practice of many writers where English is the colonial masters' language and is now adopted as a second language, but with ‘local colour’, as noted by Emenyonu (2006: xi). This dynamic and creative variety has helped Nigerians express their world view in a more international medium. In addition, there are more ‘pragmatic’ sub-varieties, including what Omolewa (1979: 14–15) calls ‘working English’. This is, however, different from the widespread Pidgin English, which continues to serve as the linguistic bridge across the linguistic Babel of Nigeria. While Pidgin is greatly influenced by the immediate local languages, thus making uniformity difficult to achieve, the emerging Nigerian English (henceforth NE) is not as heavily dependent on indigenous local languages. According to Igboanusi (2002: 4), ‘NE has its origin in British English, and the lexicon of NE has therefore shown a strong British influence.’ In other words, while Pidgin is common among the uneducated and spoken by the educated when necessary, NE is spoken by the educated and the level of education determines the variety of NE used by individuals. NE should be seen as an autonomous variety, showing acceptable departures from the rules of standard diction, pronunciation and grammar. The contact of English with indigenous languages in Nigeria is bound to lead to greater deviation from the standard in the future. Since Nigeria has one of the largest populations of speakers of English as a second language in the world (Akere, 2009; Jowitt, 2009), this is bound to have implications for English as a global language.
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Adeyemi, Remilekun Iyabo. "I’m part of the collective: exploring the influence of L1 culture on communal representation through the use of we, us and our in Nigerian undergraduates’ written texts." Journal for Language Teaching 53, no. 2 (March 3, 2021): 53–71. http://dx.doi.org/10.4314/jlt.v53i2.3.
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This study explores the influence of L1 culture on Nigerian tertiary learners’ use of first-person plural personal pronouns we, us and our in written texts to indicate the collective, i.e., the writers’ social community. The quantitative and semantic analysis of the learners’ use of the pronouns was done using the Nigerian learner English corpus (NLEC) in comparison to Louvain corpus of native English student essays (LOCNESS). The quantitative analysis indicates the overuse of first-person plural pronouns by Nigerian learners compared to their LOCNESS counterparts. The study reports on the semantic analysis and reveals that the learners’ overuse of these pronouns can be traced to their cultural background of collective shared experience, communality, inclusiveness and solidarity. This is evident in the collocates of the pronouns, e.g., ‘we live,’ ‘we have,’ ‘technology has helped us,’' ‘it gives us’, ‘our society,’ ‘our nation.’ The student-writers’ use of these pronouns indicates their involvement in issues of discourse and they emphasize collective experience. The findings of the study confirm writers make discoursal choices that align them with their L1 community which is traceable in their L2 written texts.
Keywords: pronouns; culture; undergraduates; academic writing; student-writers; second language
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Lambert, Iain. "Chris Abani’s Graceland and Uzodinma Iweala’s Beasts of No Nation: Nonstandard English, intertextuality and Ken Saro-Wiwa’s Sozaboy." Language and Literature: International Journal of Stylistics 20, no. 4 (November 2011): 283–94. http://dx.doi.org/10.1177/0963947011398559.
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This article explores the use of nonstandard English forms and intertextuality in two recent works by Nigerian writers in English living abroad. To date, Chris Abani’s Graceland and Uzodinma Iweala’s Beasts of No Nation have attracted little critical commentary, far less any academic survey of their language, yet each book is in its own way representative of conflicting treatments of nonstandard varieties of Nigerian English by writers in the diaspora. Beasts of No Nation owes a considerable debt to the linguistic and stylistic experiments Ken Saro-Wiwa made in his novel Sozaboy and Iweala has drawn heavily on this work in his use of a first person narrator and his assignment of a limited, if forcefully expressive, language to his hero. According to Saro-Wiwa, Sozaboy is written in a mixture of Nigerian Pidgin (NP), Standard English (SE) and other forms. Graceland, however, makes selective use of nonstandard forms for reasons closer to those of earlier writers and makes this clear through its author’s insertion of intertextual elements. After providing an overview of the background to and characteristic features of NP and Nigerian English this article surveys their use in Nigerian literature and concludes by examining the language of Graceland and Beasts of No Nation through a linguistic comparison of shared episodes and a consideration of thematic similarities in order to place these two novels in a continuum of Nigerian writing in English through their use of language.
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Kamalu, Ikenna, and Isaac Tamunobelema. "LINGUISTIC REPRESENTATION OF RELIGIOUS IDENTITY AND IDEOLOGY IN SELECTED POSTCOLONIAL NIGERIAN LITERATURE." Imbizo 7, no. 2 (May 26, 2017): 21–35. http://dx.doi.org/10.25159/2078-9785/1851.
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One of the greatest threats to national development and the rights of individuals and groups in Nigeria and some parts of Africa is the growing increase in religious fundamentalism by major religions in the continent. The worsening economic fortunes of many African countries, poor and corrupt leadership, the increase in ethnic nationalism, oppression of the minority by dominant powers and ideologies, external influences from extremist groups (Islamic and Christian), among others, have been suggested as likely causes of religious fundamentalism in Africa. The postcolonial Nigerian nation has suffered calamitous losses from religious conflicts. Consequently, some of Nigeria’s 21st century writers have tried in their works to present a situation in which groups use language to construct individual and collective identities and ideologies, legitimise their actions and justify acts of violence against others. The grammatical resource of mood and transitivity employed by the writers in the text under consideration enables them to represent individual and group experiences as well as intergroup relations in social interactions. Therefore, working within the tenets of critical stylistics (CS) and critical discourse analysis (CDA), this study aims to expose the ideological motivations that underlie the expression of religious discourses in Chimamanda Ngozi Adichie’s Purple Hibiscus, Chidubem Iweka’s The Ancient Curse and Uwem Akpan’s Luxurious Hearses and their implications for national stability and development. The data reveal that the sociopolitical climate in postcolonial Nigeria breeds a culture of hatred, intolerance, violence, exclusion and curtailment of individual and group rights in the name of religion and these acts are expressed in diverse discourse-grammatical patterns.
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Mokrushina, Zoya V. "«The piano and drums»: Nigerian writers about neo-colonialism." Vestnik of Saint Petersburg University. Series 13. Asian Studies. African Studies, no. 2 (June 2016): 30–40. http://dx.doi.org/10.21638/11701/spbu13.2016.204.
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Koutchadé, Innocent Sourou. "Investigating Features of Multilingualism in Ayoade Okedokun’s Mopelola: The Tale of a Beauty Goddess: A Sociolinguistic Appraisal." Education and Linguistics Research 6, no. 2 (December 26, 2020): 178. http://dx.doi.org/10.5296/elr.v6i2.18112.
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In most African writings, it is commonly noticed that culture and linguistic background affect the creation of literary idiolects. African writers use the English language in accordance with the situation in which they find themselves; they also make use of multilingual features, thus combining the English language with the linguistic resources they draw from their mother tongue. This paper aims to explore patterns of multilingualism in Mopelola: The Tale of a Beauty Goddess, a play produced by a Nigerian writer, Ayoade Okedokun. The paper mainly focuses on the linguistic and cultural influence of Yoruba that reflect the use of multilingualism features in the play. The analysis shows that there are various instances of borrowing, code-switching and transliteration representing the cultural interferences which are used to accommodate some elements of the writer’s native culture and language into the English language.
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Popławski, Błażej. "Nigeria – państwo kruche czy upadłe? Dyskurs katastroficzny w Rybakach Chigozie Obiomy." Przegląd Humanistyczny, no. 65/1 (June 11, 2021): 25–41. http://dx.doi.org/10.31338/2657-599x.ph.2021-1.2.
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The article aims to characterize the multidimensional crisis of Nigeria on the basis of the novel Fishermen written by Chigozie Obioma. Obioma, a representative of the third generation of Nigerian writers, constructs a narrative around a self-fulfilling prophecy about the annihilation of interpersonal relations, as well as the macrosocial, the political, and ecological crisis in West Africa. Finally, the ethnic and political views of Obioma in the context of the collapse of statehood in Africa are characterized.
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Markova, Elena A. "Precious resources of Dark Continent: a New Status of African Literature or Regional Augment to World National Literatures?" Philological Sciences. Scientific Essays of Higher Education 2, no. 6 (November 2020): 307–15. http://dx.doi.org/10.20339/phs.6-20.307.
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This article examines literary works of bilingual authors in Nigeria, who create their own national cultural worldviews through the language in which they write, thereby explaining why English in Nigeria is influenced by Nigerian culture. Nigeria is a country that has witnessed a cross-flow of linguistic change due to its inherent multilingualism combined with colonial experiences under British rule, a country where ethnic minorities were referred to as “oil minorities”. Although only two languages are recognized as official languages in Nigeria — Yoruba and English –the problem of multilingualism in Nigeria today remains unexplored, and where there is language contact, there must be a language conflict. Indeed, contiguous languages are often competitive languages and there is no language contact without language conflict. Moreover, the problem of linguistic contact and linguistic conflict exists at three different but interrelated levels: social, psychological and linguistic. The social aspect is related to such issues as the choice of language and its use, the psychological — to the attitude towards language, ethnicity, while the linguistic aspects are focused on the code switching, the donor language intervention, which the English language is. The language conflict has influenced the literary work of Nigerian writers writing in English, which has become an exoglossic language, superimposed on the indigenous languages of the Nigerian peoples. Thus, bilingualism in Nigeria can be considered semi-exoglossic, including English coupled with language mixing.
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Ohaeto, Ezenwa, Obianuju Catherine Acholonu, Flora Nwapa, and Molara Ogundipe-Leslie. "The Other Voices: The Poetry of Three Nigerian Female Writers." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 22, no. 3 (1988): 662. http://dx.doi.org/10.2307/485962.
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Suhr-Sytsma, Nathan. "The Geography of Prestige: Prizes, Nigerian Writers, and World Literature." ELH 85, no. 4 (2018): 1093–122. http://dx.doi.org/10.1353/elh.2018.0039.
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Ohaeto, Ezenwa. "The Other Voices: The Poetry of Three Nigerian Female Writers." Canadian Journal of African Studies / Revue canadienne des études africaines 22, no. 3 (January 1988): 662–68. http://dx.doi.org/10.1080/00083968.1988.10804235.
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Jiang, Chunsheng. "Deconstruction and Construction—A Narrative Study of Tutuola’s Novels." Theory and Practice in Language Studies 10, no. 12 (December 1, 2020): 1566. http://dx.doi.org/10.17507/tpls.1012.08.
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Nigerian writer Amos Tutuola, as one of the first generation of native African writers who write literature works in English, has received much attention since the very beginning of his publishing of works. This article explores the narrative strategies used by Tutuola in the process of constructing his cultural identity, which was partly neglected by critics. The special narrative and expressive cultural identity, narrative mode and identity establishment, and nostalgic representation were just Tutuola’s strategies that formed the procedure of the deconstruction of colonial power and the construction of national identity.
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KEHINDE, AYO. "Rulers Against Writers, Writers Against Rulers: The Failed Promise of the Public Sphere in Postcolonial Nigerian Fiction." Matatu 39, no. 1 (2011): 221–51. http://dx.doi.org/10.1163/9789401200745_013.
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Gobo, Prisca A. "Nollywood, Religion and Development in Nigeria." East African Journal of Interdisciplinary Studies 2, no. 1 (June 30, 2020): 49–62. http://dx.doi.org/10.37284/eajis.2.1.177.
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The Nigerian film industry, popularly called Nollywood has been a source of pride since it officially took off in 1992 with the production of the first direct-to-video film, Living in Bondage. Religion, on the other hand, has become a topic of growing interest among scholars worldwide. However, in Nigeria, while Nollywood is peddling exaggerated stereotypes and one-sided accounts of its traditional religion and culture, thereby promoting the get rich quick life, many religious leaders intensify that same way of life by making the members believe that one can go to bed a pauper and wake up wealthy just by praying and sowing seeds. This article sought to interrogate the effects and consequences of Nollywood and Religion on Nigerian development. This article examined the neo-colonial mindset that makes Nollywood writers, producers and religious leaders magnify the ills in our society while glorifying the western life. Indeed, religion and Nollywood with the many followers, listeners and viewers can influence Nigeria and the diaspora positively in more ways than one. Through the multidisciplinary approach to historical interpretation, this article identified ways to regulate and promote development in Nigeria through religion and Nollywood.
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Wright, Derek. "Whither Nigerian Fiction? Into the Nineties." Journal of Modern African Studies 33, no. 2 (June 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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Ogoanah, Felix Nwabeze, and Fredrick Osaro Ojo. "A multimodal generic perspective on Nigerian stand-up comedy." European Journal of Humour Research 6, no. 4 (December 30, 2018): 39. http://dx.doi.org/10.7592/ejhr2018.6.4.ogoanah.
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Studies in stand-up comedy in Nigeria have recently begun to gain serious attention. Several articles that describe the psychological and socio-cultural contexts of joke texts of stand-up comedy in Nigeria have appeared within the last few years (Orhiunu 2007; Imo 2010; Adetunji 2013; Filani 2015, 2016, etc.). However, one aspect of the phenomenon that is yet to be explored is the function of a multimodal generic framework and its contributions to the humorous content of the genre. While it is important to maintain the spoken text as many writers have done, the “multiple embodied modes” (Norris 2008: 13) that amplify the spoken text must be given due consideration. This study, therefore, examines the Nigerian stand-up comedy from the perspective of a multimodal-ESP theory to genre analysis. This theory takes cognizance not only of joke-texts, but also the visual features that enhance the performance. The material for analysis is videoed data of a popular stand-up comedy show in Nigeria, “A Nite of a Thousand Laugh.” The study demonstrates that stage management, nonverbal cues (e.g. gesture, movements, and gaze), speeches, body postures, and music/sounds contribute to the communicative value and the production of the genre. Also, it shows how plausible multimodal-ESP approach to genre is in the description of stand-up comedy in the Nigerian context and how the knowledge can be integrated into the teaching and learning of technology-mediated communications (TMC), such as using English for entertainment purposes.
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Bamgbose, Oluyemisi, and Folake Tafita. "Law Clinics and Advocacy Within the University Community: Risks and Benefits." Asian Journal of Legal Education 4, no. 2 (May 17, 2017): 127–45. http://dx.doi.org/10.1177/2322005817696544.
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The inception of the legal aid scheme in the Nigerian legal system brought about hope for the indigent and with it an increased rate of indigent dependents relying on the scheme to access justice. This article discusses the advent of legal clinics in Nigeria and its relevance to a university community; in particular, the writers look into the rationale for establishing a specialized Woman’s Law Clinic and discuss the risks and benefits associated with advocacy and practicing as a University Law Clinic. In concluding, a risk–benefit assessment was examined using the unstructured questionnaire method of finding the stakeholders’ views/perspectives on having a clinic within the university community.
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Nnyagu, U., and V. C. Mbah. "The plights of Nigerian writers in the contemporary era: the ways forward." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 7, no. 2 (November 20, 2018): 78. http://dx.doi.org/10.4314/laligens.v7i2.7.
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Kaze, Douglas E. "Ode in Onia: Reading the Use of Myth and Twinhood in Diana Evans’ 26a." Journal of English Language and Literature 8, no. 1 (August 31, 2017): 571–74. http://dx.doi.org/10.17722/jell.v8i1.322.
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Postcolonial writers have over time engaged in the use of folklore preserved from their precolonial heritage in their works that try to understand the complexities of their postcolonial existence. Such writers have used ancient stories, songs, proverbs and other ideas from their vernacular cosmologies in intertextual conversation with their fiction. In this article, I discuss this kind of practice in the novel 26a by Nigerian-British novelist, Diana Evans. The novel explores personal experiences of twinhood which also raises questions about identity, transnationalism and migration. This paper’s focus is on the ways in which Evans fetches material from her Nigerian background – the myth about twinhood – and merges it with her fiction, allowing both to engage and transform each other. Through this she has not only created a work of magical realism, but finds an effective means to represent trauma, psychic and existential struggles along with what it means to exist between categories.
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Otu, Oyeh O. "Political Topicality and Literary Aesthetics in Wale Okediran’s Novels." Matatu 49, no. 1 (2017): 145–55. http://dx.doi.org/10.1163/18757421-04901008.
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The prolificity, contemporaneity, and topicality of Wale Okediran’s themes are irrefutable indices to his claim to a place in the Nigerian literary canon. His engagement with and exposé of Nigeria’s intractable neurotic leadership disorders are timely and highly commendable. Also worthy of note are the promotion and popularity that the Association of Nigerian Authors (ANA) has given his latest novel, Tenants of the House, as it fills a significant gap and promises a positive turn in the development of Nigerian literature. This essay examines Okediran’s topical themes in relation to his craftsmanship; it investigates his deployment of aesthetic devices in the realization of his artistic vision. It fundamentally asks: what constitutes literariness in Okediran’s novels? Where does this belong in the Nigerian tradition of the novel? If it marks a shift from the conventional novelistic tradition, in what ways does it advance it? Considering that Okediran is one of Nigeria’s most prolific contemporary writers, it is important to determine his place in the Nigerian canon and also to analyse critically the factors responsible for that position.
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Et. al., Siva R,. "“The Joys of Motherhood” of an African Woman: A Mirage." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 2 (April 11, 2021): 1167–69. http://dx.doi.org/10.17762/turcomat.v12i2.1138.
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Quest for identity is one phenomenon of postcolonialism that led way for the emergence of Women writers portraying the indigenous women of their society who were denied the authorial voice in the male-dominated society. Africa African woman literature has always been discussed elaborately not only among ‘White’ but also among fellow African women writers and critics across the globe. Emecheta was one such writer whose work has been criticized for writing after settled in the western country, UK (the colonizer). The readers from third world nations may agree with Emecheta’s call for the necessity to redefine Women’s identity under the African identity. Buchi Emecheta to that reverence has always through her strong woman characters never failed to express the state of the African women and their limitations in social life. Emecheta has always recorded her protagonists' struggle for equality in a male-dominated society. Through the study of her novel The Joys of Motherhood, an attempt is made to explore her perception of Motherhood and explain how she portrays it to the African context where traditions and communal ties are deeply rooted in the Nigerian Ibo society.
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Bryce, Jane. "“Half and Half Children”: Third-Generation Women Writers and the New Nigerian Novel." Research in African Literatures 39, no. 2 (June 2008): 49–67. http://dx.doi.org/10.2979/ral.2008.39.2.49.
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Ochiagha, Terri. "THERE WAS A COLLEGE: INTRODUCING THE UMUAHIAN: A GOLDEN JUBILEE PUBLICATION, EDITED BY CHINUA ACHEBE." Africa 85, no. 2 (April 24, 2015): 191–220. http://dx.doi.org/10.1017/s0001972014000990.
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ABSTRACTGovernment College, Umuahia is known as the alma mater of eight important Nigerian writers: Chinua Achebe, Elechi Amadi, Gabriel Okara, Chike Momah, I. N. C. Aniebo, Chukwuemeka Ike, Ken Saro-Wiwa and Christopher Okigbo. Many illustrious Nigerian scientists, intellectuals and public leaders passed through the college in its prime, and in West Africa the name of the school evokes an astounding range of success stories. But Umuahia's legend as ‘the Eton of the East’ and the primus inter pares of Nigeria's elite colonial institutions obscures its present reality: nothing remains of its past but its extensive grounds, landmark buildings, and the glittering roll call of dignitaries who once studied within its walls. In 1979, prompted by the many signs of impending doom, a group of old boys joined hands in a historicizing venture, The Umuahian: a golden jubilee publication – the commemorative booklet compiled by the school's most famous alumnus, Chinua Achebe, to mark the college's golden jubilee. The booklet conjured up the school's founding ideals and glorious past in order to lay the ground for its rehabilitation. This introductory essay explains why The Umuahian is an indispensable source for the literary, cultural and educational history of West Africa, contextualizing its singular construction of colonial educational heritage. Sample and hitherto unpublished texts from the booklet by Achebe, his editorial to The Umuahian and its coda, ‘Continuity and change in Nigerian education: a jubilee essay’, are included with the main article. While the contributors to The Umuahian pertain to elite circles, and the volume had a world-class literary figure as its editor, the volume itself was produced for a local occasion and rarefied local audience, had a very limited distribution, and subsequently fell into obscurity. It is in the spirit of the historical and academic retrieval of such locally published and little-known materials by African thinkers and writers that this work appears in the Local Intellectuals strand.
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Ogunlade, Israel, Oluwafemi Peter Olabanji, Faridat Adetola Adebisi, Kemi Funmilayo Omotesho, and Deborah Adedoyin Olabode. "Reporting of Rural grazing area initiative in selected daily newspapers in Nigeria." Journal of Agricultural Extension 24, no. 4 (October 28, 2020): 82–90. http://dx.doi.org/10.4314/jae.v24i4.9.
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This study assessed how the Rural Grazing Area initiatives (RUGA) were reported in selected Nigerian newspapers, by assessing: the prominence given to RUGA news with reference to other subject matters, the frequency of reportage, and news report format. A systematic quantitative content analysis was used in collecting, analysing as well as interpreting the data for the study. A total of 276 daily publications of three newspapers were analysed from a pool of sample drawn through purposive sampling technique from issues of the newspapers published within three months’ period of July to September, 2019. The data from these newspapers were analysed using percentages. Findings showed that RUGA issues were not given adequate prominence in the three newspapers, and the newspapers performed more of an informative role in the reportage rather than giving a journalistic analysis of the policy itself in form of feature or editorial. News writers should be more analytic in their style of reporting developmental initiatives so as to help people understand the purpose and essence of such initiative. Also, the Nigerian newspapers, should scale-up agricultural content in their publications as a way of consolidating agricultural consciousness in Nigerians.
Keywords: Daily newspapers, reporting, rural grazing, initiative
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Ibrahim, Binta Fatima. "The appropriation of linguistic forms for better cognitive comprehension of the Nigerian pragmatic literature." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 2 (August 13, 2010): 119–28. http://dx.doi.org/10.1075/babel.56.2.02ibr.
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The propensity of the English language to absorb native nuances by the African writers should be seen as a worthwhile stylistic device, despite the position of English language. Its adaptability to natural flavours should therefore be aimed at the writers’ intention to reach a wider audience. This also means that the attempt by writers to decolorize through literature the polluted African culture god through the use of appropriate notions and local nuances. The technique has, however, been to put on record traditional ways of life, the peoples’ customs, communal activities such as festivals, ceremonies, rituals, myths, folktales, proverbs, music, dance, songs, etc. in order to remind the African reader about the importance of these crucial aspects of the tradition in addition to the appropriation of language use. Hence most African writings can be said to have their foundations in the cultural heritage of their various groups. through the use of what one may call technically implanted African English, African coinages, direct translation, proverbs, local idioms transfers of mother tongues, local insertions/ect. Hence it is not enough to use the sociological and residual approaches to literature. The formalist and pragmatic approaches should also be considered paramount in the writing of African literature. For the choice of diction, narrative technique and the entire pragma-aesthetic implications of the African man’s speech is important to the reader of African literature, if he is to understand the theme
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Doi, Abdul Rahman I. "Maitasine." American Journal of Islam and Society 4, no. 1 (September 1, 1987): 157–58. http://dx.doi.org/10.35632/ajis.v4i1.2752.
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There have been errorneous statements made by some writers that the"Izalah Muslim sect, which is officially recognized, has a doctrine similar tothose of Muhammadu Marwa Maitatsine". This was the interpretation ofWest Africa Magazine and also that of Dr. M. A. Ojo whose article on TheMaitatsine Revolution in Nigeria appeared in the American Journal IslamicSocial Sciences.The actual name of Izalah Movement is Izalat al-Bid'ah Wa Iqamat al-Sunnah, the movement that aims at removing devilic innovations (al-Bid'ahal-Shaytaniyyah) and establishing Sunnah in the life of Muslims on the samepattern as that of the great Nigerian Mujahid and Mujaddid Shaikh 'UthmanDanfodio. The person who started this reform movement is no other thanShaikh Abubakar Mahud Gumi who has been recently recognized and awardedKing Faysal Award for his meritorious services to the cause of Islam inAfrica.The question is then, who was Maitatsine or who are the Maitatsinefollowers who made their very strange appearance in Nigeria at dijerenttimes? I have read all the writings about Maitatsine by various scholars and Ihave closely tried to study this mischievous anti-Islamic and destructivemovement, but as time goes on I have become more and more perplexed likemany of my friends about the real identity of Maitatsine and his followers.The recent write-up by the columnist Candido in New Nigerian Newspaperentitled, "The Maitatine Scare", on Wednesday April 8,1987 is an alarmingdisclosure: ...
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Oripeloye, Henri. "Factional realities in Remi Raji's Gather My Blood Rivers of Song." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 170–80. http://dx.doi.org/10.17159/tvl.v.54i1.11.
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This paper explores the transformative vision of the Nigerian poet, Remi Raji from imaginative mooring in his earlier works to factional realities in Gather My Blood Rivers of Song published in 2009. In some poems in this collection, Raji embraces factional realities as he grapples with the narration of actual existence in Nigeria. This signifies a movement away from the speculative construct of the imagination as he presents the tangible properties of events, not as history, but the facts in reality. This differentiates him from other writers who merely re-echo or document events. Based on the materialist frame of reference presented in some of the poems in this collection, Raji is able to enact plausible narrations that have identifiable referentiality through which he guides his poetic presenta- tion of actual human existence.
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Omoniyi, Tope. "English and the other Tongues in Official Communicative Interaction in Nigeria." ITL - International Journal of Applied Linguistics 103-104 (January 1, 1994): 57–75. http://dx.doi.org/10.1075/itl.103-104.04omo.
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Abstract This paper examines issues of language choice and language use patterns, attitudes to English and to indigenous languages in official communicative interaction in Nigeria as they exist in the offices today. The report is projected against the background of the claim that English is 'the language of government, education, commerce, etc.' in Nigeria; a claim that does not present the current roster of functions performed or shared by English and the other languages. It does not correctly portray workers' preferences of language medium in participating in the numerous communicative interactions they get into in the course of their day's work. This report acclaims the importance of English particularly in a multiplex society such as Nigeria's, but also goes on to role-sharing and competition for certain communicative functions is actually going on between English and the indigenous languages in the offices today. The report therefore represents a state of the art commentary on language use practice and preferences in the offices. It is a signal to the writers of the Nigerian Constitution and drafters of the National Language Policy per se that a reworking is due. And for other English as a Second Language (ESL) nations, the report is a hint that assessment of the actual roles of English in national life is a continuous process rather than a once-and-for-all issue.
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Mahmoud-Mukadam, Abdur-Rasheed. "Study of the echoes of the Arabic story in Nigerian Arabic literature: Ilorin as a case study." Nady Al-Adab 16, no. 1 (May 20, 2019): 1. http://dx.doi.org/10.20956/jna.v16i1.6002.
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The story is an art of prose literature. Arab writers and others have done valuable works of fiction, showing the extent of their artistic ability; however, this art has witnessed in the modern era developed and developed to add to it another form known - in Western literature - poetry story; which has no era - before - in literature Old Arab, and the poems appeared stories woven on the Western vein. After looking at the story in Arabic literature, this article looks at some of the echoes of the Arab story in Arabic literature, with an emphasis on what the thinkers of the city of Eulen produced as a living model reflecting the many stories that were presented at the Arab literature table in Nigeria. For a commendable effort by the writers of Nigeria to expand the Arabic language and create a clear atmosphere for artistic creativity and conscience.
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Kekeghe, Stephen. "Creativity and the Burden of Thoughts." Matatu 49, no. 2 (December 20, 2017): 293–306. http://dx.doi.org/10.1163/18757421-04902004.
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Abstract The art of creative expression is a mentally tasking endeavour which requires intense probing of the creator’s inward states. Since writers create in solitude and and engage in dialogic strategies in shaping their imagery, they manifest ‘normal’ neurotic episodes, which are privileged as markers of artistic genius. Despair has thus been acknowledged as a significant feature of the creative imagination. Many writers script out their distressed moods, a paradoxical catharsis, in artistic mentation, that has become a major issue in contemporary studies of scriptotherapy, especially in Europe and North America. Studies of psychotherapy have revealed that the art of re-creating agonizing experiences brings mental restoration to the writer. Due to the emotional commitment and spontaneity required, poetry is clearly a convenient literary genre for the exploration of despondency and melancholic depression. However, this subject of poetry therapy has not been given adequate attention in Nigerian literary scholarship. The present study attempts an exemplary ‘poetic-diagnosis’ of melancholia in Wumi Raji’s Rolling Dreams. The article relies on psychoanalysis, a theory of the mind, deployed for the analysis of the abject imagery of the poems, and on deconstructionist theory, for autonomous and polysemous investigation of the melancholic poetic canvas of the collection.
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Ochiagha, Terri. "“A Little Book of Logic” – Reconstructing Colonial Arts of Suasion at Government College, Umuahia." History in Africa 41 (February 21, 2014): 63–82. http://dx.doi.org/10.1017/hia.2014.1.
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AbstractMemories of political pedagogies in the elite colonial classroom are typically fragmentary and constitute limited historical evidence. But when contextualized and used in combination with coetaneous sources, such as textbooks and lesson notes, they can be crucial in the reconstruction of the transmission of political knowledge, its classroom assimilation and postcolonial negotiation. This article pieces together a number of unconnected but mutually consistent epiphanic moments in the life-writing and interviews of writers Chinua Achebe and Chike Momah, tracing and identifying a mysterious textbook of logic – R.W. Jepson’sClear Thinking(1936) – and its use as a tool to rein in and redirect anti-colonial nationalist undercurrents at Government College, Umuahia, the elite colonial school famous for having produced eight renowned Nigerian writers.
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Chakravertty, Neeru. "A Question of Dignity-A Comparative and Historical Study of Chinua Achebe's 'Things Fall Apart' and Kalyan Rao's 'Untouchable Spring'." International Journal of Historical Insight and Research 7, no. 1 (January 5, 2021): 1–10. http://dx.doi.org/10.48001/ijhir.2021.07.01.001.
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Abstract: Chinua Achebe and Kalyan Rao, the Nigerian and the Telugu Dalit writers, authors of two groundbreaking novels, Things Fall Apart and Untouchable Spring, belong to two different socio-cultural traditions and historical contexts. Both are the products and chroniclers of societies that faced oppression and exploitation as well as literary misrepresentation. The individual identity, humanity and dignity of their people was negated through stereotypical and superficial portrayals in popular imagination and dominant discourses. Both writers seek to restore the dignity and self-respect of their communities through the two novels that interrogate negative and inauthentic representations and provide challenging, alternative perspectives. They are simultaneous narratives of protest and assertion and choose similar narrative thrust points to achieve their objectives.