scholarly journals Patriarchy in Buchi Emecheta’s The Slave Girl and Bessie Head’s A Question of Power: A Gynocentric Approach

2021 ◽  
Vol 16 (2) ◽  
pp. 1-25
Author(s):  
Ashenafi Aboye
Keyword(s):  
African Literature ◽  
Female Characters ◽  
Post Colonial ◽  
Feminine Gender ◽  
Gender Oppression ◽  
Colonial Culture ◽  
The Feminine ◽  
Female Writers ◽  
African Writers

African literature has been dominated by male African writers. However, there are a number of female African writers who contributed to the literary landscape of the continent significantly. In line with this, researches that deal with issues of gender in African literature are increasing (Fonchingong, 2006; Salami-Boukari, 2012; Stratton, 1994). In this study, I aim to expose patriarchal oppression in two selected post-colonial African novels. I ask “How do postcolonial African female writers expose gender oppression and patriarchy in their novels?” I ask how the female characters in the selected novels resist patriarchal dominance and oppression. I seek to uncover any thematic patterns and/or overlaps that would emerge across the selected novels. To achieve this, I analyze two feminist Anglophone African novels by female writers of the continent, namely ‘The Slave Girl’ and ‘A Question of Power’. Gynocentrism is used as an approach to achieve this purpose. The analyses of the novels make it feel that patriarchy is used as a tool to stabilize the discrimination of the feminine gender. The heroines in both novels are found to be patriarchal women with some attempt to reverse the gender order. The major female characters in the novels stand against the intersectional discrimination of the feminine from the male personhood, religion, as well as colonial culture. These discussions about patriarchy revive the vitality of African feminist novels to the present readers.

scholarly journals Hybridity and the Shape of the New African Woman

2021 ◽  
Vol 21 (2) ◽  
pp. 349-361
Author(s):  
Regie Panadero Amamio
Keyword(s):  
Women Characters ◽  
African Literature ◽  
African Woman ◽  
Women's Bodies ◽  
Male Characters ◽  
Gender Oppression ◽  
Dark Continent ◽  
The New Woman ◽  
African Writers ◽  
The Many

Hybridity is argued as an intricate combination of attraction and repulsion that describes the relationship between the colonizers and the colonized. This combination creates a challenge to and disruption of the monolithic power exercised by the colonizers of Africa who (mis)represented the land as a Dark Continent. Such monolithic power underpins the portrayal of the colonizers’ patriarchal tradition within which women characters in creative works by Africans are commonly situated. The inclusion of women as part of the many subjects of power strengthens the discourse on hybridity in African literature. To question power is to see men and women both apart and together as ambivalence that defines the idea of hybridity in the African literary tradition. In this paper, the employment of deconstruction in the  analysis of women characters in five selected stories by African writers reveals a new consciousness in African literature using the Dark Continent metaphor as a mirror of  the female aesthetics. In this sense, the use of women’s bodies in the short stories does not only point to the issue of gender oppression but also to a power that is disrupting and slowly dismantling the long-entrenched patriarchal stance forcing the male characters to question their current worldview and position. Overall, this paper has established that contemporary African literature on women recognizes the hybridized identity and shape of the new woman, consequently proving that the so-called Dark Continent is nothing but a myth.

scholarly journals Literatura, Linguagem e Descolonização em Ngũgĩ wa Thiong’o (Quênia) e Chinua Achebe (Nigéria)

2021 ◽  
Vol 5 (9) ◽  
pp. 81
Author(s):  
Bruno Ribeiro Oliveira
Keyword(s):  
Contemporary Literature ◽  
African Literature ◽  
Ngugi Wa Thiong'o ◽  
Chinua Achebe ◽  
Post Colonial ◽  
African Languages ◽  
African People ◽  
History Of ◽  
African Writers ◽  
The Many

A história de literatura africana contemporânea está repleta de debates que tratam de sua utilidade frente aos povos de África e a natureza dessa literatura. Através das ideias de dois escritores africanos, Chinua Achebe e Ngũgĩ wa Thiong’o, este artigo revisita a história das ideias desses autores em respeito à literatura africana e sua linguagem de escrita. Tratamos de perceber como dois autores da mesma geração, porém de locais diferentes, Nigéria e Quênia, respectivamente, pensaram a produção literária e sua função em África no período pós-colonial.Palavras-chave: Chinua Achebe (1930-2013), Ngũgĩ wa Thiong’o (1938-), Literatura Africana, Línguas Africanas AbstractThe history of African contemporary literature is full of debates that deal with its utility to the many African people and the nature of this literature. Through the ideas of two African writers, Chinua Achebe and Ngũgĩ wa Thiong’o, we revisit the history of the ideas of these authors in relation to African literature and the language in which this literature is written. We try to perceive how authors from the same generation, but from different locals, Nigeria and Kenya, respectively, thought their literary production and its function in Africa in the post-colonial period.Keywords: Chinua Achebe (1930-2013), Ngũgĩ wa Thiong’o (1938-), African Literatures, African Languages

Blackism and Pan-Africanism in Post-Colonial African Literature: A Reading of Femi Osofisan’s Plays

Imbizo ◽  
2019 ◽  
Vol 9 (2) ◽  
Author(s):  
Clement Olujide Ajidahun
Keyword(s):  
Social Order ◽  
Black People ◽  
African Literature ◽  
Post Colonial ◽  
African Renaissance ◽  
Pan Africanism ◽  
New Social Order

This article is a thematic study of Femi Osofisan’s plays that explicitly capture the essence of blackism, nationalism and pan-Africanism as a depiction of the playwright’s ideology and his total commitment to the evolution of a new social order for black people. The article critically discusses the concepts of blackism and pan-Africanism as impelling revolutionary tools that seek to re-establish and reaffirm the primacy, identity, and personality of black people in Africa and in the diaspora. It also discusses blackism as an African renaissance ideology that campaigns for the total emancipation of black people and a convulsive rejection of all forms of colonialism, neo-colonialism, Eurocentrism, nepotism and ethnic chauvinism, while advocating an acceptance of Afrocentrism, unity and oneness of blacks as indispensable tools needed for the dethronement of all forms of racism, discrimination, oppression and dehumanisation of black people. The article hinges the underdevelopment of the black continent on the deliberate attempt of the imperialists and their black cronies who rule with iron hands to keep blacks in perpetual slavery. It countenances Femi Osofisan’s call for unity and solidarity among all blacks as central to the upliftment of Africans. The article recognises Femi Osofisan as a strong, committed and formidable African playwright who utilises theatre as a veritable and radical platform to fight and advocate for the liberation of black people by arousing their revolutionary consciousness and by calling on them to hold their destinies in their hands if they are to be emancipated from the shackles of oppression.

scholarly journals Prejudice Nation: Hypersexualization and Abuse in Jude Dibia’s Unbridled

SAGE Open ◽  
2021 ◽  
Vol 11 (3) ◽  
pp. 215824402110326
Author(s):  
Chinenye Amonyeze ◽  
Stella Okoye-Ugwu
Keyword(s):  
Gender Roles ◽  
Sexual Violence ◽  
Social Values ◽  
Implicit Bias ◽  
Girl Child ◽  
Feminine Gender ◽  
Traditional Gender Roles ◽  
Patriarchal Society ◽  
The Feminine ◽  
Culture Of Silence

With the global #Metoo movement yet to arrive in Nigeria, Jude Dibia’s Unbridled reflects an emblematic moment for the underrepresented to occupy their stories and make their voices heard. The study analyzes patriarchy’s complicated relationship with the Nigerian girl child, significantly reviewing the inherent prejudices in patriarchy’s power hierarchies and how radical narratives explore taboo topics like incest and sexual violence. Contextualizing the concepts of hypersexualization and implicit bias to put in perspective how women, expected to be the gatekeepers of sex, are forced to navigate competing allegiances while remaining submissive and voiceless, the article probes the struggles of sexual victims and how hierarchies in a patriarchal society exacerbate their affliction through a culture of silence. Arguing that Dibia’s Unbridled confronts the narrative of silence in Nigerian fiction, the article explores ways the author empowers gender by challenging social values and traditional gender roles, underscoring gender dynamics and the problematic nature of prevalent bias against the feminine gender in Nigeria.

scholarly journals Gender Assignment in Six North Scandinavian Languages: Patterns of Variation and Change

2021 ◽  
Vol 33 (3) ◽  
pp. 264-315
Author(s):  
Briana Van Epps ◽  
Gerd Carling ◽  
Yair Sapir
Keyword(s):  
Statistical Analysis ◽  
Word Frequency ◽  
Old Norse ◽  
Gender Assignment ◽  
Feminine Gender ◽  
The Feminine ◽  
Old Swedish ◽  
Gender System ◽  
Gender Change

This study addresses gender assignment in six North Scandinavian varieties with a three-gender system: Old Norse, Norwegian (Nynorsk), Old Swedish, Nysvenska, Jamtlandic, and Elfdalian. Focusing on gender variation and change, we investigate the role of various factors in gender change. Using the contemporary Swedish varieties Jamtlandic and Elfdalian as a basis, we compare gender assignment in other North Scandinavian languages, tracing the evolution back to Old Norse. The data consist of 1,300 concepts from all six languages coded for cognacy, gender, and morphological and semantic variation. Our statistical analysis shows that the most important factors in gender change are the Old Norse weak/strong inflection, Old Norse gender, animate/inanimate distinction, word frequency, and loan status. From Old Norse to modern languages, phonological assignment principles tend to weaken, due to the general loss of word-final endings. Feminine words are more susceptible to changing gender, and the tendency to lose the feminine is noticeable even in the varieties in our study upholding the three-gender system. Further, frequency is significantly correlated with unstable gender. In semantics, only the animate/inanimate distinction signifi-cantly predicts gender assignment and stability. In general, our study confirms the decay of the feminine gender in the Scandinavian branch of Germanic.

scholarly journals Gender Change in Norwegian Dialects: Comprehension is affected before Production

2016 ◽  
Vol 2 (s1) ◽  
Author(s):  
Björn Lundquist ◽  
Yulia Rodina ◽  
Irina A. Sekerina ◽  
Marit Westergaard
Keyword(s):  
Spoken Word Recognition ◽  
Spoken Word ◽  
Production Task ◽  
Gender Agreement ◽  
Language Variation And Change ◽  
Feminine Gender ◽  
Indefinite Article ◽  
The Feminine ◽  
Gender System ◽  
Gender Change

AbstractThis article investigates language variation and change in the grammatical gender system of Norwegian, where feminine gender agreement is in the process of disappearing in some Northern Norwegian dialects. Speakers of the Tromsø (N=46) and Sortland (N=54) dialects participated in a Visual Word experiment. The task examined whether they used indefinite articles (en, ei, et) predictively to identify nouns during spoken-word recognition, and whether they produced feminine articles in an elicited production task. Results show that all speakers used the neuter indefinite article et as a predictive cue, but no speakers used the feminine ei predictively, regardless of whether they produced it or not. The masculine article en was used predictively only by the speakers who did not produce feminine gender forms. We hypothesize that in dialects where the feminine gender is disappearing, this change in the gender system affects comprehension first, even before speakers stop producing the feminine indefinite article.

scholarly journals Female Representation in Select Films of Frank Rajah Arase: Evidence of Male Chauvinist Tendencies in the Ghanaian Film Culture

2021 ◽  
Vol 9 (1) ◽  
pp. 14-41
Author(s):  
Osakue S. Omoera ◽  
Charles C. Okwuowulu
Keyword(s):  
Paradigm Shift ◽  
African Continent ◽  
Film Culture ◽  
African Culture ◽  
Female Representation ◽  
Feminine Gender ◽  
Representation Of Women ◽  
Observation Methods ◽  
The Feminine ◽  
Video Films

There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexually larded scenes that are common sights in African films, particularly those from Ghana. Employing the historical-analytic and observation methods, this article examines three selected films:  The Maid I Hired (2010), Why Did I Get Married? (2007) and To Love a Prince (2014) by Frank Rajah Arase (FRA), an African filmmaker of Benin (Edo) extraction who largely operates in the Diaspora, to foreground and highlight the voyeuristic imprints in Ghanaian films (Ghallywood), which tend to demean the feminine gender in the context of African culture that hegemonizes the male folk.

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