The Shame of Which We Shall NeverNow Speak

2021 ◽  
pp. 219-242

The ongoing controversies over homosexuality’s shameful representation in African culture and literature. An analysis of cultural, legal, and literary commentary and “homophobic classics” of African literature as well as more recent, positive representations of homosexuality such as Mariama Barry’s La Petite Peul, Frieda Ekotto’s Chuchote pas trop, Jude Dibia’s Walking with Shadows, and some of Chimamanda Adichie’s short stories.

2020 ◽  
Vol 4 (3) ◽  
pp. p55
Author(s):  
Komenan Casimir

Achebe’s Things Fall Apart is an influential novel in African literature for three reasons. First, it is a novel meant to promote African culture; second, it is a narrative about where things went wrong with Africans; and third, it is a prose text which contributed to Achebe’s worldwide recognition. It contains Achebe’s rejection of the degrading representation of Africans by European writers, and fosters Africa’s traditional values and humanism. The excesses of Igbo customs led the protagonist to flagrant misuse of power. The novel’s scriptural innovations bring fame to Achebe who is considered as the “Asiwaju” (Leader) of African literature, the “founding father of African fiction”, or again the “Eagle on Iroko”.


2018 ◽  
Vol 2 ◽  
pp. 133
Author(s):  
Demétrio Alves Paz ◽  
Mithiele Da Silva Scarton

O presente trabalho, relacionado ao estudo desenvolvido pelo projeto de pesquisa intitulado Mulheres fortes: O conto africano de língua portuguesa de autoria feminina (PROBIC/FAPERGS), tem por objetivo analisar a condição feminina presente em nove contos da obra Mornas eram as noites, de autoria da escritora cabo-verdiana Dina Salústio. A partir da leitura de obras críticas de especialistas nas literaturas africanas de língua portuguesa, como Maria Aparecida Santilli (2007), Manuel Ferreira (1987), Pires Laranjeira (1995) e Simone Caputo Gomes (2006; 2013), assim como em artigos publicados em revistas acadêmicas, revisamos a fortuna crítica da autora com o intuito de conhecer seus temas. Nas nove narrativas, observamos que há figuras femininas diferenciadas, representando um amplo apanhado de todas as classes sociais e de diferentes idades. A grande maioria das histórias é narrada em primeira pessoa, o que aproxima o leitor da condição feminina e também funciona como uma espécie de pedido de cumplicidade por parte das narradoras para sentir-se parte desse emaranhado de sentimentos e situações em que elas se encontram.Palavras-chave: Literatura de autoria feminina. Conto. Literatura cabo-verdiana. Dina Salústio. Condição feminina.ABSTRACTThis article, related to the study developed in the research project Strong Women: African short stories written by women writers (PROBIC/FAPERGS), aims to to analyze the women’s condition in 9 (nine) short stories in Warm were the nights, by the Cape Verdean writer Dina Salústio. From the reading of critical works by scholars of African Literature in Portuguese Language such as Maria Aparecida Santilli (2007), Manuel Ferreira (1987), Pires Laranjeira (1995) e Simone Caputo Gomes (2006, 2013), as well as articles in academic journals, we revised the critical works about the author to get a better knowledge of her themes. In the nine narratives, we noted that there are differentiated feminine figures, representing a broad view of all social classes and different ages. The majority of stories were narrated in the first person, which connect the reader to the women’s condition as well as it works as a kind of asking for partnership by the narrators to feel part of this connection of feelings and situations in which the characters are involved. Keywords: Women’s writing. Short story. Cape Verdean Literature. Dina Salústio. Women’s condition.


Author(s):  
Teresa Gibert

Most metaphorical expressions related to children in Margaret Atwood’s novels and short stories can be grouped into two coherent sets. The predominant negative set includes a wide range of monsters and hideous animals, whereas the much shorter list of positive representations encompasses sunflowers, jewels, feathers, little angels, gifts and lambs. Negative representations of children in Atwood’s fiction are generally rendered in an unconventional manner and reflect the frustration felt by realistically portrayed characters in their everyday experience. On the contrary, favorable expressions have a tendency toward stereotype and often belong to the world of memories, dreams and illusions.


Author(s):  
Gloria E. Worugji ◽  
Stella I. Ekpe

Many African societies are patriarchal, based on the supremacy of the male over the female. According to Mba (2009, p.322), “emancipation of females is one of the greatest achievements of the women’s struggle globally”. As a continent, African culture accords a superior status to the male such that strength, freedom, independence, honour, courage and other positive attributes are ascribed to the male gender, while attributes of weakness, fear, dependence among others are ascribed to the female gender. Crimes of less magnitude are considered as “female” crimes and attract less stiff punishment. The killing of Ezeudu’s first son by Okonkwo in Chinua Achebe’s Things Fall Apart for example, is described as a female crime. On the nature of the crime, Achebe writes “the crime was of two kinds, male and female, Okonkwo committed the female because it had been inadvertent. He could return to the clan after some years” (p.87). In this paper, the Feminist theory is used to examine the portraiture of females in two short stories by two African female writers. In this article, the family is categorise as a fundamental part of the social life of Africans, it attempts to expose the bias of African culture against the female in favour of the male, and consider how this social reality impacts negatively on the female psyche. The stories reveal that women themselves aggravate the situation by working against themselves. We conclude that female empowerment is a must for all females, and that just as governments are projecting education for all by the year 2020, the women’s movement should also target education for all females by the year 2020, because as the stories reveal, the educated female character fares better in the society than her less literate counterpart.


2017 ◽  
Vol 6 (1) ◽  
pp. 93-104
Author(s):  
Elena Rodríguez Murphy

Abstract Described as one of the leading voices of her generation, Nigerian writer Chimamanda Ngozi Adichie has become one of the many African authors who through their narratives have succeeded in challenging the literary canon both in Europe and North America while redefining African literature from the diaspora. Her specific use of the English language as well as transcultural writing strategies allow Adichie to skilfully represent what it means to live as a “translated being”. In her collection of short stories, The Thing Around Your Neck (2009), and her latest novel, Americanah (2013), which were greatly influenced by her own experiences as what she has referred to as “an inhabitant of the periphery”, Adichie depicts the way in which different Nigerian characters live in-between Nigeria and America. In this regard, her characters’ transatlantic journeys imply a constant movement between several languages and cultural backgrounds which result in cultural and linguistic translation.


Author(s):  
Craig MacKenzie

A short-story writer, novelist, poet and journalist, Bosman was born in Kuils River near Cape Town, but spent most of his life in the Transvaal, and it is the Transvaal milieu that features in almost all of his writings. He became known in the 1940s for his ‘Oom Schalk Lourens’ stories, and his use of this simple-seeming but wily narrator has ensured his place in South African literature as one of the country’s most enduring and best-loved storywriters. Schalk Lourens features in the short-story collections Mafeking Road (1947) and Unto Dust (1963), while Bosman’s prison memoir, Cold Stone Jug (1949), set the trend for this important genre in South Africa. Bosman was educated at Jeppe Boys’ High School, the University of the Witwatersrand and Normal College, where he qualified as a teacher. In January 1926 he received a posting to the Groot Marico in the remote Western Transvaal, as it was known then. Despite its short duration, this stay later inspired almost all of his 150 short stories. In July 1926, on vacation at the family home in Johannesburg, he became embroiled in a family quarrel and shot and killed his step-brother David Russell. He was tried and sentenced to death—a sentence that was later commuted to imprisonment for ten years with hard labour. He eventually served four years of this sentence and was released on parole in August 1930.


Literator ◽  
1993 ◽  
Vol 14 (3) ◽  
pp. 1-20 ◽  
Author(s):  
C. MacKenzie

While an overwhelming amount of cultural activity worldwide has been (and is being) conducted in societies which had (or have) very little or no knowledge at all of writing, and which can therefore be described as predominantly ‘oral’ cultures, very little attempt has been made in the field of South African literature to examine how oral modes of cultural exchange influence and interpenetrate the more recent written (literary) modes. South Africa is a region which has several rich oral traditions and it is therefore important to explore how aspects of these traditions are incorporated into (written) literature. This paper looks at the use of the fictional narrator and skaz (the Russian Formalist term meaning 'speech') in some South African short stories by Scully, FitzPatrick, Gibbon and Bosman. It is argued that whereas Scully and FitzPatrick produce only partially successful narratives in the skaz style, Gibbon and Bosman introduce greater artistic and ideological complexity to the form.


2019 ◽  
Vol 29 (1) ◽  
Author(s):  
Michiko Kaneko ◽  
Ruth Morgan

This article explores the way in which trees (izihlahla in isiZulu) are represented in South African Sign Language (SASL) literature. We contextualise our study in the broader field of African folklore and literature as SASL literature is steeped in deaf culture as well as that of a wider African culture of hearing people. Using a close reading approach of a selection of poems, we claim that many key features of tree symbolism and tree personification that are found in African literature and folklore (written or spoken) can also be identified in SASL literature (signed). In both literatures, the tree is seen as a symbol of growth, the circle of life, hope and knowledge, the ancestors and custodians of history, as well as a character with its own presence. Our findings highlight the modality-independent nature of human creativity This article explores the way in which trees (izihlahla in isiZulu) are represented in South African Sign Language (SASL) literature. We contextualise our study in the broader field of African folklore and literature as SASL literature is steeped in deaf culture as well as that of a wider African culture of hearing people. Using a close reading approach of a selection of poems, we claim that many key features of tree symbolism and tree personification that are found in African literature and folklore (written or spoken) can also be identified in SASL literature (signed). In both literatures, the tree is seen as a symbol of growth, the circle of life, hope and knowledge, the ancestors and custodians of history, as well as a character with its own presence. Our findings highlight the modality-independent nature of human creativity.


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