Until the Eighties the regional character of Kenyan prose writing was far less marked than that of Zanzibari novels. Different was the situation in poetry; in fact, Kimvita and Kiamu have been used even in modern times (see, e.g., Ahmad Nassir Juma Bhalo, Abdilatif Abdalla and Ahmed Sheikh Nabhany; the last one is well-known for his endeavour in enriching and modernizing Swahili terminology, and a few of his proposed terms, e. g. runinga for `television`, have been accepted). Kenyan prose fiction, on the other hand, used to be much alike to the up-country Tanzanian literary production, written as it was in standard Swahili, sometimes with many colloquial features.

A book review of `Zanzibar: Kinyang`anyiro na utumwa´by Issa Nasser Issa AI-Ismaily (1999).

<p>This dissertation examines a series of novels by Aminata Zaaria, Ken Bugul, Gaston-Paul Effa, Boubacar Boris Diop and Yolande Mukagasana. At the heart of my study is a problem that haunts much literary production and literary criticism about post-colonial Francophone African writing: the layers of distance and misunderstanding that often exist between readers and writers. Several of the authors in this study express frustration at the limited expectations that readers have of them, complaining that readers outside of the continent continue to read their novels solely in order to gain a grasp of socio-political "realities" of Africa. I propose a return to a select group of author's largely semi-autobiographical texts in order to better understand each writer's individual literary projects within the interdisciplinary framework of trauma studies. Interviews that I conducted with Senegalese and Cameroonian publishing directors, psychologists, sociologists and authors themselves offer an analysis of these texts within the context of broader social debates. </p><p> My first chapter focuses on Zaaria's La Nuit est tombée sur Dakar (2004) and Bugul's Le Baobab Fou (1983) and Cendres et Braises (1995) in order to examine intergenerational Senegalese semi-autobiographical representations of prostitution. My study ultimately finds that neither Senegalese society nor Zaaria and Bugul's narratives evidence healing through writing. Rather, both present literature as a "default" chosen because the authors found no one with whom they could initially share their stories face-to-face. Chapter Two hones in on Bugul's relationship with her mother, a painful theme revisited from one end of Bugul's semi-autobiographical oeuvre (Le Baobab Fou, 1982) to the other (De l'autre côté du regard, 2002). Chapter Three examines the trauma of parental loss in Gaston-Paul Effa's semi-autobiographical works, from Tout ce bleu (1996) to a more recent novel (Nous, les enfants de la tradition, 2008) in order to examine the evolution of Effa's personal identity quest and his extensive self-analysis over time in light of the author's permanent exile in France. My fourth chapter begins with a study of genocide survivor Yolande Mukagasana's recent narrative entitled N'aie pas peur de savoir (1999) in order to examine author/reader relationships in light of the often inconceivable trauma of genocide. I then move on to consider the ethics of speaking "for" genocide survivors by analyzing the well-known Senegalese author Boubacar Boris Diop's Murambi, le livre des ossements (2000) and the related Fest'Africa project. I end Chapter Four with a critique of Etoke's Melancholia africana: l'indéspensable dépassement de la condition noire (2010) in order to question whether or not sweeping theories of the various traumas experienced by members of Africa and its diaspora are in fact helpful in every context. Finally, I end my study with Effa's Voici le dernier jour du monde, which exhibits the interplay between autobiography, biography, fiction and the issue of literary violence. </p><p> I ultimately argue that a major difference between the "talking cure" of psychoanalysis and the process of seeking healing through literary narratives involves the question of audience. In the case of Sub-Saharan African literature, the author/reader relationship does not necessarily provide a safe space akin to the doctor/patient model in Freud's "talking cure." Therefore, I ultimately call for a closer analysis of the myriad ways by which authors are seeking healing and answers outside the realm of literature.</p> / Dissertation

Thesis (doctoral)--Universität, Mainz, 2002.

Not available / text

The central assumption of this study is that the awareness of a historically constructed, culturally sanctioned condition of subalternity is at the heart of the fictional production of Francophone African women writers. Subalternity here is viewed as a narrative and spatial continuum inside which African women have to negotiate issues relating to subjecthood and identity, both marked by gender and colonialism. Various definitions of 'the subaltern' are relevant, ranging from Antonio Gramsci's to those of the South Asian Subaltern Studies group, and to John Beverley's and Fredric Jameson's discussions. Jameson's emphasis on subalternity as "the feelings of mental inferiority nad habits of subservience and obedience which... develop in situations of domination - most dramatically in the experience of colonized peoples" (Jameson, 1981) is crucial, because it demonstrates the constructedness of that ontological condition. The approach adopted here aims to include gender as a category in a discourse that often excludes it, and to bring social science-oriented concepts into dialogue with literary theory and criticism. Combined with a discussion of Africa-influenced versions of feminist theory (stiwanism, negofeminism, motherism), Subaltern studies provides a space for the emergence of a south-south postcolonial debate that can throw new light on writing by African women. Fictional works by Therese Kuoh-Moukoury, Mariama Ba, Aminata Maiga Ka, Angele Rawiri, Philomene Bassek, Evelyne Mpoudi-Ngolle, Regina Yaou, Fatou Keita, and Abibatou Traore are read as conveying the various stages of consciousness on the part of the subaltern. Kuoh-Moukoury's Rencontres essentielles (1969), Maiga Ka's La voie du salut (1985), and Bassek's La tache de sang (1990) exemplify a first stage of consciousness in which the subaltern woman submits passively to oppressive patriarchal, cultural and religious prescriptions. Ba's Une si longue lettre (1979), Mpoudi Ngolle's Sous La cendre le feu (1990) and Rawiri's Fureurs et cris de femmes (1989) present a more assertive, rebellious heroine whose efforts are undermined by a resilient social context. Finally, Traore's Sidagamie (1998), Kei'ta's Rebelle (1998) and Yaou's Le prix de la revoke (1997) address the possibility of a sustained African women's struggle resulting not only in transient personal and isolated victories but also in an enduring social transformation governed by the ethos of gender equality.

The phenomenon of the farm attack has engendered an angry debate in South Africa today. Controversially, the South African media has paid great attention to violence against white farmers amidst a seemingly endless flood of violence against black farm workers. The now commonplace tales of farm attacks incite racial tension and provoke paranoia, leading one to question why they are repeated at all. Recent works by South African authors have engaged this question, including Jonny Steinberg's Midlands (2002), J. M. Coetzee's Disgrace (1999), and Breyten Breytenbach's Dog Heart (1998). Critics have accused these works of perpetuating racism with their grim depictions of black-on-white violence but have failed to recognize the manner in which these authors contextualize the violence. I argue that each work registers the farm attack as a land claim, made in an era of failed land reform. Furthermore, these works reflexively explore the pragmatics of circulating the stories.

<p>&nbsp / </p> <p>&nbsp / </p> <p align="left">In my thesis entitled &lsquo / African Tradition and Modernity in Zakes Mda&rsquo / s <i><font face="Times New Roman" size="3"><font face="Times New Roman" size="3">The Heart of Redness&rsquo / </font></font><font face="Times New Roman" size="3"><font face="Times New Roman" size="3">, I analyze the way Western modernity and African traditions interact in Mda&rsquo / s novel. I suggest that both modernity and tradition interact to produce a hybrid culture. This will become apparent in my analysis of the way Mda depicts the cattlekilling episode and the effects of Nongqawuse&rsquo / s prophecy, and also in the novel&rsquo / s contemporary characters. Mda shows the development of an African modernity through the semi-autobiographical figure of Camagu who is not slavishly indebted to Western ideas of progress, but is a hybrid of African values and a modern identity.</font></font></i></p> <p align="left">&nbsp / </p>

Thesis (M.Tech.: Library and Information Studies)-Durban Institute of Technology, 2004. viii, 71 leaves / The aim of the study was to investigate management and maintenance procedures that were used by other sites and how these could be used as a basis for formulating management and maintenance procedures for the SALO subject directory.

As a conjunctural construct located between politics, society and art, the popular-democratic construes the resistance literature of the 1970s and 1980s as being expressive of an entire social movement to end oppression and transform society. Through the construct of the popular-democratic voices that have been marginalised, fragmented, dislocated, excluded or otherwise silenced can be seen in relation to each other and to the sources of oppression. The introductory chapter addresses the characteristics of the popular-democratic, and the caveats and challenges that attend it. The remaining nine chapters are divided into three sections of three chapters each. The first section examines repression of different types: structural repression, coercive repression/state violence and cultural repression. An important index of the structural oppression of apartheid is the home, which a range of resistance writers addressed in depth when they dealt with city life and the townships, forced removals, homeless people, rural struggles, migrants and hostels, commuting, the "homelands" and exile. The coercive apparatus of the state, the security forces, were used against dissidents in the neighbouring states and within the country. The literature addresses the effects of the cross border raids, assassinations, abductions and bombings. The literature that deals with internal repression examines the effects of the mass detentions, restrictions, listings and bannings as well as the impact of the states of emergency, P.W. Botha's "total strategy", and the actions of the death squads. An examination of the conservative liberal constructions of resistance literature helps to clarify why resistance literature remains inadequately conceptualised ("Soweto poets", "protest literature") although there has been a vibrant and challenging corpus. The way in which the audience of resistance literature is constructed is identified as a key problem. The responses of various resistance writers, in poems, interviews, letters and articles, to conservative liberal prescriptions are contextualised. The middle section of the argument focuses on the organisations that developed to challenge oppression. Through an examination of the literature that was influenced by the activism and the cultural and philosophical production of Black Consciousness, it is apparent that the movement was continuous with the rest of the struggle for liberation. The satirical poems that challenged both the state and the conservative liberals offer powerful displays of verbal wit. The struggles of workers are addressed through texts that deal with their plight and call for worker organisations. The trade union COSA TV paid close attention to the development of worker culture, which proved to be critical when the state cracked down on the resistance organisations. The production values and effects of very different plays about strikes, The Long March and Township Fever receive particular attention. The rise of the United Democratic Front (UDF) is anticipated in literature that celebrates the potential of ordinary South Africans to achieve political significance through unity. Constructed out of substantial ideological pluralism, the UDF arose as an act of political imagination and organisational strategy. The ideological convergence between the UDF and COSATU on the question of bidding for state power constituted a turning-point in a nation built on the intolerance of difference. The last section focuses more closely on the productive responses of the culture of resistance to specific aspects of repression, such as the censorship of the media and the arts, the killings of activists, the struggles around education and the keeping of historical records (which enable an interrogation and reconstruction of discursive and interpretive authority). / Thesis (Ph.D.)-University of Durban-Westville, 1998.