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 121
... Printed 10cally, Le Réprouvé was obviously intended for local readers, both French and African. The one surviving chapter84 reveals genuine familiarity with the colonial administration. The heroine's father is “commis principal” in the ...
... Printed 10cally, Le Réprouvé was obviously intended for local readers, both French and African. The one surviving chapter84 reveals genuine familiarity with the colonial administration. The heroine's father is “commis principal” in the ...
Page 123
... printed in Paris in 1929. Although Couchoro's Preface asserts the dignity of African life as Hazoumé was to do some ... printing-shop established by Mme P. d'Almeida in Wydah, Couchoro himself left Dahomey in 1941 for the neighbouring ...
... printed in Paris in 1929. Although Couchoro's Preface asserts the dignity of African life as Hazoumé was to do some ... printing-shop established by Mme P. d'Almeida in Wydah, Couchoro himself left Dahomey in 1941 for the neighbouring ...
Page 127
... printed in the same journal in September—October 1946. Like Hazoumé before him, Sadji was first interested in the traditions of his own people: Tounka is based on a legend reported by Senegalese griots; it describes the arrival of an ...
... printed in the same journal in September—October 1946. Like Hazoumé before him, Sadji was first interested in the traditions of his own people: Tounka is based on a legend reported by Senegalese griots; it describes the arrival of an ...
Page 129
... printed in Dakar in 1960, is a long short story rather than a full-scale novel. It is Sadji's best work with respect to style, plot organization and the coherence of character development. Here the theme of city life is seen from the ...
... printed in Dakar in 1960, is a long short story rather than a full-scale novel. It is Sadji's best work with respect to style, plot organization and the coherence of character development. Here the theme of city life is seen from the ...
Page 138
... printed a substantial number of plays from the various territories.104 In 1955, the French High Commissioner Bernard Cornut-Gentille launched a series of annual dramatic competitions. The “loi~cadre” of 1956, which dismantled the ...
... printed a substantial number of plays from the various territories.104 In 1955, the French High Commissioner Bernard Cornut-Gentille launched a series of annual dramatic competitions. The “loi~cadre” of 1956, which dismantled the ...
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