Academic literature on the topic 'Political satire, Nigerian (English)'
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Journal articles on the topic "Political satire, Nigerian (English)"
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Nwachukwu–Agbada, J. O. J. "Ezenwa–Ohaeto: Poet of the Genre." Matatu 33, no. 1 (June 1, 2006): 153–77. http://dx.doi.org/10.1163/18757421-033001027.
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Ezenwa–Ohaeto was a poet of immense artistic vision. He was a conscious member of the Nigerian and African polity and a perspicacious user of the African oral tradition, particularly the Igbo afflatus/affiliation of it. A poet of ideas and style, Ezenwa–Ohaeto was to adopt principally as his stylistic tool the Igbo traditional genre of satire called In this essay, effort has been made towards identifying his use of the mode in terms of what he took from it and what in turn he gave to African poetry. It is demonstrated that Ezenwa–Ohaeto utilized satire to draw attention to the ills in the land. While he did so, he used the humour in to smoothe his way through. Although he was regularly concerned with the fate of fellow nationals, he did so light-heartedly, combining the use of airy Igbo iconic figures with mediated English and pidgin variety. Ezenwa–Ohaeto thus left behind an original, captivating and enchanting poetic tradition
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Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (February 25, 2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.
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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers. In this regard, the selected poems in this paper are crowded with anecdotes, the effusive use of humour, suspense and curiosity. The over-arching argument of the paper is that satire is grounded in the poetics of contemporary Nigerian poetry in order to criticize certain aspects of the social ills plaguing Nigerian society. The paper will further examine how satire articulates social issues in the works of contemporary Nigerian poets, including Niyi Osundare, Tanure Ojaide, Chinweizu, Femi Fatoba, Odia Ofeimun, Ezenwa Ohaeto, Obiora Udechukwu and Ogaga Ifowodo. Viewed in the light of artistic commitment, the paper will demonstrate how satire accentuates the role of these poets as the synthesizers/conduits of social and cultural concerns of Nigerian society for which they claim to speak. As representatively exemplified in the selected poems, the paper will essentially focus on the mediation of satire for the impassioned criticism of social and moral vices, militating against Nigeria’s socio-political development.
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Ogbodo, Jude Nwakpoke, Emmanuel Chike Onwe, Blessing Ewa-Ibe, and Emem Oshionebo. "Mainstreaming and Weaponizing Satire in Nigerian Journalism Practice." Journalism and Media 5, no. 1 (February 16, 2024): 219–32. http://dx.doi.org/10.3390/journalmedia5010015.
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Satire has gained increased scholarly traction across journalism and related fields. The genre increases the entertainment value of journalism and broadens its appeal. Satirical news also serves as a catalyst to pique the curiosity of ordinarily disinterested audiences in news, particularly political news. However, there are some concerns emerging from the weaponization of satire in this contemporary period, which is characterised by the proliferation of fake news and misinformation. From the Nigerian context, there have been minimal empirical spotlights placed on satirical journalism. We employed semi-structured interviews to explore the views of Nigerian print satirical journalists and cartoonists. Our finding broadens scholarship in the evolving area of satirical journalism. It demonstrates how the mainstreaming and the weaponization of satire have changed the texture of satire in Nigerian journalism. Although ethical concerns are admitted, we argue that cartoonists and satirical journalists have a responsibility to adjust to the dynamic media ecology, where satire continuously provides insightful critique and entertaining commentaries.
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Awonusi, V. O. "Nigerian English In Political Telemarketing." English World-Wide 19, no. 2 (January 1, 1998): 189–204. http://dx.doi.org/10.1075/eww.19.2.03awo.
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Societal multilingualism helps Nigeria to retain English, an exoglossic language, as her lingua franca. English performs both instrumental and integrative functions in Nigeria. The use of English as a language of political campaigns exemplifies one of the important functions given the country's level of economic development and slow-evolving, military-authored democracy. The paper examines the exploitation of English in television advertising in Nigeria. It is done as a follow-up to an earlier work on the use of English in political ads in the print media. The present paper examines English, within a context of media multilingualism, in the marketing (advertisement) of political programmes in the recent Abacha democratic experiment in Nigeria.
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BAMIRO, EDMUND O. "Nigerian Englishes in Nigerian English literature." World Englishes 10, no. 1 (March 1991): 7–17. http://dx.doi.org/10.1111/j.1467-971x.1991.tb00133.x.
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Pandey, Anita, and Anjali Pandey. "NIGERIAN ENGLISH TODAY." World Englishes 12, no. 3 (November 1993): 401–14. http://dx.doi.org/10.1111/j.1467-971x.1993.tb00038.x.
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Mohammed, Wafaa Dahham. "A Socio-Pragmatic Study of Satire in English Political Speeches with Reference to Its Arabic Translations." JOURNAL OF LANGUAGE STUDIES 7, no. 4 (December 31, 2023): 236–55. http://dx.doi.org/10.25130/lang.7.4.12.
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Satire is a typical mode of expression that is humorously utilized with the intent of attacking or criticizing a certain person, behavior, state, or the whole community. Satire, in political genres, is informatively manifested for materializing negative ends on the part of the satire entity. Satirical expressions are oppositely devised, critically held, and morally targeted; whereof a problematic area would arouse towards the perception of their incongruous targets, the extent of their critical dimensions about their aim of moral reform. Besides, translators would face the dilemma of satirical incongruity and their moral statues would inevitably differ. Thence, five satirical texts with their translations randomly opted from the political site www. The week.com show debates political satire in English with its four renditions in Arabic. Socio- Pragmatic means for unraveling satirical mysteries are objectively culled. It is hypothesized that satire in political language comes with the intent of criticizing and ridiculing the political situation with the aim of getting reform. Bringing forth translational mechanisms for the renditions of covert intents based on cultural and communal grounds are attempted. In conclusion, most of the political satires are hostilely put forward against rather than reforming the political figures and the political situation. Most of the satirical expressions found no accurate renditions in the other language due to their discrepancy and the absence of contextual condition, paralinguistic cues and intonational patterns.
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ATOYE, RAPHAEL O. "Word stress in Nigerian English." World Englishes 10, no. 1 (March 1991): 1–6. http://dx.doi.org/10.1111/j.1467-971x.1991.tb00132.x.
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Omoko, Peter E., Emmanuel A. Mede, and Monday O. Akpojisheri. "The socio-political aesthetics of Nigerian Pidgin in stand-up comedy and popular music." Tropical Journal of Arts and Humanities 3, no. 2 (2021): 42–51. http://dx.doi.org/10.47524/tjah.v3i2.43.
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This paper examines the place of the Nigerian Pidgin in Stand-up comedy and popular music in Nigeria and foregrounds the socio-political tempers inherent in them. It explores the peculiar language features that have not only made stand-up comedy and popular music in Nigeria a national artistic brand but an international phenomenon that has endeared the Nigerian artists to global audiences. The paper adumbrates the fact that one of the most significant features of Nigerian stand-up comedy and popular music is the use of the English-lexifier of the Nigerian pidgin. The Nigerian pidgin is a domesticated version of the English language which has become a recurrent motif, both in the performance of telling jokes by Nigerian stand-up comedians as well as in the lyrics and metaphors of popular musicians. The paper establishes that by appropriating the linguistic elements of the Nigerian pidgin in their works, the artists not only employ syntactic features but adopt various rhetorical strategies to foreground and convey their message to the people.
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Salisu Ogbo, Usman, and MomohTairu Nuhu. "Satire as Tool of Political Cartoons in the Nigerian National Dailies: A Critical Discourse Analysis." European Scientific Journal, ESJ 12, no. 29 (October 31, 2016): 124. http://dx.doi.org/10.19044/esj.2016.v12n29p124.
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This work is an analysis of the use of satire as a form of imagery to depict some political issues in cartoons as featured in the Nigerian national dailies. Survey method of research design was adopted as a means of sampling copies of national dailies from which political cartoons were selected, while Critical Discourse Analysis (CDA) was adopted for the analysis of data gathered. Findings reveal images of corruption, official responsibility, political failure and brutality/cruelty/suffering as the dominant concerns of the cartoons featured by the papers. While the corrupt postures of those who have links with the past government are dominant in the image of corruption portrayed, both those in and out of government are subjected to some satiric expose in respect of official responsibility, failure in politics and brutality/cruelty/suffering. At the end, it is recommended, among others, that more searchlight should be focused on the corrupt tendency of those still in power, and that more research efforts be devoted to the use of political cartoons to encourage citizen participation in national discourse.
Dissertations / Theses on the topic "Political satire, Nigerian (English)"
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Weaver, Kristina N. "Sayling, stories from the mothership: narrating political geographies of Nigerian campus cultism." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1512/.
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"Sayling, Stories from the Mothership" is a collection of ethnographic fictions ? short stories ? adapted from notes, archival materials, and interviews compiled over a year of geographic fieldwork in southwestern Nigeria. Touching on a wide range of themes, from domesticity to internet fraud, the stories explore the interface of occult violence and youth politics in the contemporary period. They are connected through overlapping characters and through their relationships to a central geography: the University of Ibadan (UI), Nigeria?s oldest and most prestigious institute of higher education and the site of origin for the nation?s first campus ?cult?: the Pyrates Confraternity. The collection is, in essence, a character study of Nigerian campus cultism, itself. The stories are organized into three sections that can be mapped onto a ritual landscape: the stages of initiation, participation, and renunciation serve to link diverse voices and life stories. The dissertation is framed by a Preface and Epilogue that explore issues of race, representation, and reflexivity, themes that are important to a project engaging with living memories of contemporary violence. A critical prologue and footnotes throughout serve to connect the creative core of this work to larger academic, literary, and ethnographic contexts. An appendix features maps that highlight spaces and dates important to the stories as well as four original interview ?transcripts?, semi-fictionalised records that provide both additional ethnographic detail and evidence of methodology.
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Thompson, Martha. "George Canning, Liberal Toryism, and Counterrevolutionary Satire in the Anti-Jacobin." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3714.
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One of the most defining moments in the histories of British satire and the public sphere took place in the late 1790s in an abandoned house in Piccadilly. Here George Canning and several fellow conservatives began writing and circulating their weekly newspaper the Anti-Jacobin. Although the periodical has been critically neglected, it is a valuable model for exploring how literary (partisan) politicians attempted to form a rational and critical public sphere through their satiric poetry. Founded by George Canning and edited by William Gifford, the Anti-Jacobin seems to reflect a reactionary conservative's ideology and has been summarily dismissed because of this one-sided nature. In this essay, I suggest a more nuanced reading of both Canning's biography and his Anti-Jacobin poetry that will give a fuller and more accurate version of Canning, one that illustrates a moderate reformer who is concerned with centralizing the extremism of the 1790s.
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Bucknell, Clare. "Poetic genre and economic thought in the long eighteenth century : three case studies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:71e97b4d-c009-487c-8efb-fdb71eefa080.
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During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.
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Opuamah, Abiye. "Narrating social decay: satire and ecology in Ayo Akinfe's Fuelling the Delta Fires." Thesis, 2017. https://hdl.handle.net/10539/25727.
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A research report submitted to the Faculty of Humanities, University
of the Witwatersrand in partial fulfilment of the requirements for the
degree of Master of Arts, 2017This research report conducts a critical examination of Ayo Akinfe’s Fuelling the Delta Fires by paying attention to the writer’s use of satire to highlight social problems such as corruption, deception and exploitation in Nigeria. The focus is on how Akinfe’s novel represents exploitation, waste, and excess that have become normative in a country on the brink of collapse. The work also seeks to identify and critique how Akinfe employs satire to interrogate the syndrome of the ‘big-man’ in Nigeria, showing how their actions contribute to social decay and violence. The research will also examine issues of ecology in the Niger Delta. Ecology has often been construed as a Western ideology that has little resonance within the framework of the African novel. However, this work, tries to show that as the scholarship on ecological humanities has evolved over the years, African alternatives which take account of the unique challenges of the continent have also being developed. Akinfe draws from these proposed models of ecology to focus attention on the ecological issues that are a direct outcome of the exploration of oil in the Niger Delta and by so doing, brings attention to the transgressions of government and multinational corporations who go to great lengths to extract oil in the region. Applying ecocritical examples suggested by scholars like Anthony Vital, Byron Caminero-Santangelo and others, the research report demonstrates how literature has been used as a medium to expose greed that facilitates ecological degradations and how the culture of consumerism affect the daily lives of the inhabitants of the Niger Delta.
XL2018
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McMurtry, Mervyn Eric. "The playwright-performer as scourge and benefactor : an examination of political satire and lampoon in South African theatre, with particular reference to Pieter-Dirk Uys." Thesis, 1993. http://hdl.handle.net/10413/8666.
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During the 1970s the plays of Pieter-Dirk Uys became causes celebres. In the 1980s he
was, commercially and artistically, arguably the most successful South African satirist.
By 1990 he had gained recognition in the United Kingdom, the United States of America,
Canada, Australia, the Netherlands and Germany. Yet relatively little research has been
undertaken or published which evaluates his contribution to South African theatre as a
playwright and performer of political satire. This dissertation aims to document and
assess the satiric work of Uys and that of his precursors and contemporaries.
The first chapter identifies certain characteristic features and purposes of satire as a
creative method which cannot be defined in purely literary terms. The views of local
practitioners and references to its manifestation in various non-literary and indigenous
forms are included to support the descriptive approach to satire in performance adopted in
later chapters.
Of necessity to a study of Uys's lampoons, Chapter 2 discusses the origins of lampoon and
the theatrical presentation of actual persons by Aristophanes (the first extant Western
playwright to do so). Both the textual and visual ridicule of Socrates, Euripides, Cleon
and Lamachus are considered, to argue that Aristophanes employed the nominal character
as a factional type to exemplify a concept for humorous rather than meliorative purposes.
Part One of Chapter 3 is a necessarily selective survey of the diversity, style and
censorship of satire in South Africa in various theatrical, literary and journalistic forms.
Part Two describes the use of satire by Adam Leslie, Jeremy Taylor, Robert Kirby and,
more recently, Paul Slabolepszy, Mark Banks, Ian Fraser, Eric Miyeni and the
'alternative' Afrikaners in plays and in revue, cabaret and stand-up comedy.
Chapter 4 examines the principal themes of Uys's plays to date, the 1981-1992 revues as
entertainment and as a reflection of certain social and political issues, the similarities
between his theatrical praxis and that of Aristophanes, and his satiric strategies in
performance: his preparatory and visual signifiers, his concern with proxemics, and his
mastery of kinesics, paralanguage and chronemics in depicting a spectrum of fictional and
non-fictional personae, including Evita Bezuidenhout, P.W. Botha and the Uys-persona.Thesis (Ph.D.)-University of Natal, Durban, 1993.
Books on the topic "Political satire, Nigerian (English)"
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Maidment, Christopher. Satura und Satyroi: Der Streit um die Herkunft der Satire in der englischen Literatur der frühen Neuzeit. Aachen: Shaker Verlag, 1997.
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Rahman, Farhana Haque. Stalking serendipity and other pasquinades. Dhaka, Bangladesh: University Press, 1990.
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Stollenwerk, Frederik. Politische Satire bei Jonathan Swift. Uelvesbüll: Der Andere Verlag, 2012.
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Swift, Jonathan. A modest proposal and other satires. Amherst, N.Y: Prometheus Books, 1995.
Find full textBook chapters on the topic "Political satire, Nigerian (English)"
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Baldwin, Anna. "The Urban Middle Class: Satire, Debate and Political Advice." In An Introduction to Medieval English Literature, 61–99. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-59582-9_4.
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Goddard, Lynette. "Nigerian Political Satire at the Soho Theatre: Class, Culture, and Theatrical Languages in Oladipo Agboluaje’s The Estate and Iyale (The First Wife)." In Africa on the Contemporary London Stage, 109–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94508-8_6.
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Galloway, Andrew. "The Borderlands of Satire: Linked, Opposed, and Exchanged Political Poetry During the Scottish and English Wars of the Early Fourteenth Century." In The Anglo-Scottish Border and the Shaping of Identity, 1300–1600, 15–31. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137108913_2.
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Hutchings, William. "16. The First Satire of the Second Book of Horace Imitated." In ‘Wit’s Wild Dancing Light’, 181–96. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.17.
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Chapter 16 begins by locating The First Satire of the Second Book of Horace Imitated as the first of Pope’s seven Imitations of Horace’s satires and epistles. It then restates from the Introduction the importance of respecting the layout of the original printings of these poems (Latin text on the verso, English version on the recto) for a full appreciation of how the parallel texts affect our reading. (For the non-Latinist, a good modern translation of Horace’s poems will serve.) Pope’s choice of William Fortescue as his eighteenth-century equivalent of Horace’s interlocutor is also discussed. The main body of the chapter examines in detail seven significant extracts to show how Pope’s Imitation addresses the complex moral, political and social questions involved in the writing of satires. What constitutes ethically responsible action? How should it adapt to the changing public circumstances within which it has to operate? Pope’s investigation is searching, yet humorous in much of its tone; but it does not flinch from asserting the role of poetry (and printing) as a force for good.
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Olubode-Sawe, Funmi. "More Than a Joking Matter." In Analyzing Language and Humor in Online Communication, 38–64. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0338-5.ch003.
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This chapter discusses how humor is generated in Oga at the Top series (OATT), a puppet political satire program featuring prominent actors on the Nigerian political scene. The question of how multimodal phenomena in humor bearing texts combine to create a humorous political commentary has not been addressed within the Nigerian context. This chapter therefore explores how different semiotic resources are combined to create humor in OATT. From the 25 videos selected from Season One, the humor creation mechanisms in OATT were found to include caricature of national leaders, re-interpretation of contemporary happenings, musical parody, script opposition in conversation, inter-texuality and physical violence. Though the stated function of the series was to exploit the Nigerian political climate for humor, the analysis shows that the audience has appropriated the videos for their own ends based on the functions they felt they could serve. The chapter concludes with the significance of the online distribution of the videos.
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Baldick, Chris. "Modern Satire." In The Modern Movement, 234–52. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198183105.003.0012.
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Abstract Cyril Connolly observed in 1938 that ‘This is a satirical age and among the vast reading public the power of an artist to awaken ridicule has never been so great.’ There is a strong sense in which it was the ‘age’ itself that was satirical, not just its authors. The grim ironies of modern history provided enough mockery of human vanities, even before the literary satirist could get to work on them. Thomas Hardy shared the view that events themselves are the sharpest satirists, an assumption embodied in the title of his verse sequence ‘satires of Circumstance’ (1911). Of modern historical ironies, the most cruelly’satirical’ in its perceived implications was the Great War of 1914–18, an event whose moral devastations reverberated long after the Armistice. The War That Will End War (a slogan coined by H. G. Wells), the war that would be over by Christmas, it constituted in the eyes of many writers an unanswerable satire not only upon political blindness, military incompetence, journalistic dishonesty, and the English class system, but upon the higher ideals of European civilization itself.
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Hale, Meredith McNeill. "Conclusion." In The Birth of Modern Political Satire, 239–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836261.003.0007.
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This concluding chapter focuses on the question of circulation and impact: to what extent did De Hooghe’s satires travel beyond The Netherlands in the seventeenth century and what influence did they have on English political satire of the eighteenth century? The appearance of motifs from De Hooghe’s satires in mezzotints of c.1690 and prints on the subject of the South Sea Bubble of 1720 will be discussed as will instances in which De Hooghe’s satires were reissued in the eighteenth century. However, a comparison of this handful of examples with the liberal use of De Hooghe’s triumphal allegories and battle scenes in such distant locations as Latin America and Russia reveals one of the qualities that epitomizes political satire—its dramatic circumscription by temporal and geographical boundaries. Satire’s embeddedness in a specific political, historical, and cultural moment and its dependence upon text that often channels the idiosyncrasies of spoken language, render it difficult—often impossible without intensive investigation—to understand beyond its immediate context. This is as true for twenty-first-century satires as it was for those produced in the late seventeenth century.
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Hale, Meredith McNeill. "Satires on Foreign Subjects." In The Birth of Modern Political Satire, 66–120. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836261.003.0003.
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This chapter examines seven of De Hooghe’s eighteen satires on the events surrounding William III’s invasion of England and associated diplomatic and military campaigns. These satires, which were produced between the autumn of 1688 and summer of 1690, followed the events of the Glorious Revolution as they unfolded and represent not only key political-historical events but also the development of De Hooghe’s satirical strategies. William III is featured as the sober and valiant defender of Protestantism against the Catholic kings, James II and Louis XIV, who appear as a darkly comic duo, misguided adherents of a primitive religion committed only to their own aggrandizement. This discussion examines the iconography of the foreign satires, providing detailed interpretive analysis and translation of many of the texts into English for the first time. It will be demonstrated that De Hooghe responded almost immediately to the rapid unfolding of events that constituted the Glorious Revolution, highlighting the need to consider them in terms of the speed with which they were produced and their serial nature. It is often possible to determine the month in which a satire was made and, in certain cases, the timeframe can be narrowed to weeks. This dramatic imbrication in a particular historical moment is characteristic of political satire to this day.
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Loxley, James. "Andrew Marvell." In The Oxford History of Poetry in English, 434–47. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0037.
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Abstract Andrew Marvell is one of the most intriguing poets of the seventeenth century, with his distinctive mix of lyric interiority, acute political sensitivity, and unrestrained satire. This chapter starts from the point of view of one of Marvell’s contemporary readers encountering his poems in print for the first time; it then goes on to explore the varying dimensions of this body of work in lyric, political verse, and satire with an eye both for Marvell’s distinctive contribution to each genre and an eye for the poetic dynamics that operate across it, weaving through its different genres and preoccupations, and challenging its readers in the present as well as the past.
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Fludernik, Monika. "Poeta in Vinculis II." In Metaphors of Confinement, 171–224. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840909.003.0003.
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Continuing the contrast between personal accounts of imprisonment and fictional elaborations of carceralities, Chapter 3 concentrates on the twentieth century and on (post)colonial contexts. The three authors discussed at length are Brendan Behan, the Irish dramatist; Ken Saro-Wiwa, the Nigerian author and ecological activist; and Breyten Breytenbach, the South African poet. Whereas Behan’s and Saro-Wiwa’s autobiographical texts, at least on the surface, appear to be quite reliable, i.e. factual, accounts of their imprisonment, their literary work, just like Breytenbach’s, is highly allusive, ironic, and allegorical; they model the carceral experience through distortive lenses of comedy, farce, satire, or parable. The chapter also emphasizes the use of the prison and legal criminalization as major political strategies of discrimination against (ethnic and other) minorities as well as political dissidents.