European-language Writing in Sub-Saharan AfricaAlbert S. Gérard John Benjamins Publishing, 1 janv. 1986 - 1288 pages The first major comparative study of African writing in western languages, European-language Writing in Sub-Saharan Africa, edited by Albert S. Gérard, falls into four wide-ranging sections: an overview of early contacts and colonial developments Under Western Eyes ; chapters on Black Consciousness manifest in the debates over Panafricanism and Negritude; a group of essays on mental decolonization expressed in Black Power texts at the time of independence struggles; and finally Comparative Vistas, sketching directions that future comparative study might explore. An introductory essay stresses the millennia of writing in Africa, side by side with a richly eloquent and artistic set of vernacular oral traditions; written and oral traditions have become interwoven in adaptations of imported forms and linguistic innovations that challenge traditional high literary norms. Gérard uses the mathematical concept of fuzzy sets to explain why the focus on Black Africa has led him to set aside for future analysis the literatures produced in North Africa, which fall under the influence of Muslim civilization, as well as the diasporic literatures of the New World. Over sixty scholars from twenty-two countries contribute specialized studies of creative writing by leading authors in the nineteenth and twentieth centuries such as Achebe, Mphahlele, Ngugi, Senghor, Soyinka, and Tutuola. Critical analyses are organized primarily around regions, reflecting different colonial languages imposed through schools and other social institutions. Some authors trace the adaptation of western genres, others identify syncretism with folktales or myths. The volumes are attentive to the heterogeneity of national literatures addressed to polyethnic and multilingual populations, and they note the instrumental politics of language in newly independent states. A closing chapter, Tasks Ahead, identifies areas for future scholars to explore. |
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Page 23
... Senghor, “La civilisation négro-africaine,” in M. El Kholti et al.; Les plus beaux écrits de l'Union franpaise et du Maghreb (Paris: La Colombe, [1947]), pp. 163—262. See also Senghor's later essays: “Langage et poésie négro-africaine ...
... Senghor, “La civilisation négro-africaine,” in M. El Kholti et al.; Les plus beaux écrits de l'Union franpaise et du Maghreb (Paris: La Colombe, [1947]), pp. 163—262. See also Senghor's later essays: “Langage et poésie négro-africaine ...
Page 112
... Senghor does seem to carry faint echoes of the ideology of negritude, but displays none of the Senegalese poet's rhetorical elegance and optimism. “Whither Bound, 0 Africa?” expresses an intellectual's perplexity while contemplating the ...
... Senghor does seem to carry faint echoes of the ideology of negritude, but displays none of the Senegalese poet's rhetorical elegance and optimism. “Whither Bound, 0 Africa?” expresses an intellectual's perplexity while contemplating the ...
Page 125
... Senghor and Birago Diop, Ousmane Socé and Abdoulaye Sadji were born during the decade that preceded the outbreak of the World War 1. Both came from Rufisque and attended Koranic schools before graduating from the famous Ecole Normale ...
... Senghor and Birago Diop, Ousmane Socé and Abdoulaye Sadji were born during the decade that preceded the outbreak of the World War 1. Both came from Rufisque and attended Koranic schools before graduating from the famous Ecole Normale ...
Page 146
... Senghor in these words: “J e t'écris dans la solitude de ma résidence surveillée—et chere—de ma peau noire.”1 '3 On the other hand, he withdrew deeper and deeper into the romantic isolation of the poet's private world. Both Senghor and ...
... Senghor in these words: “J e t'écris dans la solitude de ma résidence surveillée—et chere—de ma peau noire.”1 '3 On the other hand, he withdrew deeper and deeper into the romantic isolation of the poet's private world. Both Senghor and ...
Page 147
... Senghor projects his personal dilemma onto the image of the committed writer, Rabéarivelo retains and exploits the individualistic stance of the Western writer. Unlike Senghor, who creates a poetic vision which seeks to reconcile ...
... Senghor projects his personal dilemma onto the image of the committed writer, Rabéarivelo retains and exploits the individualistic stance of the Western writer. Unlike Senghor, who creates a poetic vision which seeks to reconcile ...
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