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 135
... influence of French literature, on condition of course that this influence should remain subordinate to the authors' own purposes and should not be reduced to mere imitation. For Béart, this influence was on the whole largely positive ...
... influence of French literature, on condition of course that this influence should remain subordinate to the authors' own purposes and should not be reduced to mere imitation. For Béart, this influence was on the whole largely positive ...
Page 139
... influence of negritude made itself felt in the poetic use of traditional legends as in La Fille des dieux (1955) by Abdou Anta Ka (b. 1931) from Senegal, who declared emphatically that Ponty drama was outmoded and childish. Nor was he ...
... influence of negritude made itself felt in the poetic use of traditional legends as in La Fille des dieux (1955) by Abdou Anta Ka (b. 1931) from Senegal, who declared emphatically that Ponty drama was outmoded and childish. Nor was he ...
Page 141
... influence which, in spite of a period of reaction against it during the reign of Queen Ranavalona I (1828—1861), moved inexorably, as we look at it in retrospect, towards the inevitable colonial takeover. Virtually the whole of the ...
... influence which, in spite of a period of reaction against it during the reign of Queen Ranavalona I (1828—1861), moved inexorably, as we look at it in retrospect, towards the inevitable colonial takeover. Virtually the whole of the ...
Page 143
... influence and the traditional poetry was to result in Rabéarivelo's own finest poetry—the merging and reconciliation, in this one poet, of the two opposites of isolation and contact. There is one further journal whose influence has been ...
... influence and the traditional poetry was to result in Rabéarivelo's own finest poetry—the merging and reconciliation, in this one poet, of the two opposites of isolation and contact. There is one further journal whose influence has been ...
Page 148
... influence was not, however, the only one. For at about the same time, Rabéarivelo came to realize the value for his own poetic creation of the translations he had been making for some years from the indigenous hain—teny. Versions of his ...
... influence was not, however, the only one. For at about the same time, Rabéarivelo came to realize the value for his own poetic creation of the translations he had been making for some years from the indigenous hain—teny. Versions of his ...
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