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 15
... traditional”, it should not be overlooked that, in the words of an African sage, “it is not tradition to be conservative”. Oral art is still very much alive in Africa today. It does not consist solely of recitals of ancestral tales and ...
... traditional”, it should not be overlooked that, in the words of an African sage, “it is not tradition to be conservative”. Oral art is still very much alive in Africa today. It does not consist solely of recitals of ancestral tales and ...
Page 92
... traditional culture—— “the-aspiration of a true patriot is that his country should be looked upon as the founder or sustainer of a virtuous civilization not inferior to that of the leading nations of the world.”25 Above all, Carr ...
... traditional culture—— “the-aspiration of a true patriot is that his country should be looked upon as the founder or sustainer of a virtuous civilization not inferior to that of the leading nations of the world.”25 Above all, Carr ...
Page 119
... traditional Wolof society; she represents the higher forms of the traditional outlook, yet Malic is not alone in his struggle against misoneism. Both his grandfather and the village headman are great admirers of the French, because they ...
... traditional Wolof society; she represents the higher forms of the traditional outlook, yet Malic is not alone in his struggle against misoneism. Both his grandfather and the village headman are great admirers of the French, because they ...
Page 123
... traditional African cultures and which was to become central to Senghor's definition of negritude. . The comparatively high degree of literacy achieved in Dahomey between the wars accounts for the existence of a fairly large lower ...
... traditional African cultures and which was to become central to Senghor's definition of negritude. . The comparatively high degree of literacy achieved in Dahomey between the wars accounts for the existence of a fairly large lower ...
Page 125
... traditional society and the claims of the new world is mainly illustrated through his love experiences. He is swayed by the old impulses of a shame-culture, where work is despised, where honour and rank are supposed to be evidenced by ...
... traditional society and the claims of the new world is mainly illustrated through his love experiences. He is swayed by the old impulses of a shame-culture, where work is despised, where honour and rank are supposed to be evidenced by ...
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