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 143
... poet's first volumes how much the latter owed to the Frenchman's encouragement and influence. The second review was called Capricorne and edited jointly by Rabéarivelo and R. J. Allain, a Malagasy poet of mixed descent whose work is ...
... poet's first volumes how much the latter owed to the Frenchman's encouragement and influence. The second review was called Capricorne and edited jointly by Rabéarivelo and R. J. Allain, a Malagasy poet of mixed descent whose work is ...
Page 146
... poet had begun to make a name for himself. This was Jean-Joseph Rabéarivelo (1901—1937),112 who now appears to have been, long before Senghor, the first major poet in the French colonial empire. Rabéarivelo's poetry was inspired and ...
... poet had begun to make a name for himself. This was Jean-Joseph Rabéarivelo (1901—1937),112 who now appears to have been, long before Senghor, the first major poet in the French colonial empire. Rabéarivelo's poetry was inspired and ...
Page 147
... poet; but it went necessarily hand in hand with the discovery of the right language and style in which to express it. Rabéarivelo's early poetry (La Coupe de Cendres, 1924; Sylves, 1927; Volumes, 1928) contains many of the themes of his ...
... poet; but it went necessarily hand in hand with the discovery of the right language and style in which to express it. Rabéarivelo's early poetry (La Coupe de Cendres, 1924; Sylves, 1927; Volumes, 1928) contains many of the themes of his ...
Page 148
... poet's intuitive perception of himself and of his place in the world. Two main factors help explain this transformation. One was the Malagasy writer's greater awareness of the latest tendencies in contemporary French poetry. It seems ...
... poet's intuitive perception of himself and of his place in the world. Two main factors help explain this transformation. One was the Malagasy writer's greater awareness of the latest tendencies in contemporary French poetry. It seems ...
Page 149
... poet in quest of the poem. But there is, in the image of the trapped bird, a hint of the sadness of the creative act. As the bird seeks to elude its hunter, the poem eludes the poet, so it must be taken by violence and brought back to ...
... poet in quest of the poem. But there is, in the image of the trapped bird, a hint of the sadness of the creative act. As the bird seeks to elude its hunter, the poem eludes the poet, so it must be taken by violence and brought back to ...
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