The paper is divided into two parts. In the first part, the basic concepts, such as “African philosophy” and “Afrophone philosophies”, their relationship and the general context of the debate on “African philosophy” will be defined. The author anticipate her definition here and says that “Afrophone philosophies”are those discourses that are the medium of philosophical reflexion in a given culture. Thus in the second part of the paper, Alena Rettová concentrates on one specific case of a philosophical reflexion, that of reflecting philosophical influences in the late works of Euphrase Kezilahabi, Nagona (1990) and Mzingile (1991).

The paper is divided into two parts. In the first part, the basic concepts, such as “African philosophy” and “Afrophone philosophies”, their relationship and the general context of the debate on “African philosophy” will be defined. The author anticipate her definition here and says that “Afrophone philosophies”are those discourses that are the medium of philosophical reflexion in a given culture. Thus in the second part of the paper, Alena Rettová concentrates on one specific case of a philosophical reflexion, that of reflecting philosophical influences in the late works of Euphrase Kezilahabi, Nagona (1990) and Mzingile (1991).

This study elaborates how Kezilahabi depicts elements of Roman Catholic faith in his book Mzingile. Throughout the book religious institutions and the image of God are deconstructed. Nevertheless, Kezilahabi uses images derived from the Bible and Roman Catholic rituals to describe the new world order. This leads to the conclusion that the recognition of the existence of these concepts as concepts opens the way for the creation of a new world. Kezilahabi seems not to be convinced of the Roman Catholic faith being useful in search of the meaning of life. He rather builds upon the creative space, the emptiness left after the deconstruction of religious concepts.

Since the very moment of their appearance two recent works of Euphrase Kezilahabi- Nagana (1990) and Mzingile (1991)- hold a very special place in the whole development ofKiswahili literature, giving a lot of puzzles for the reader and a lot of material for the scholars of literature. I\' m going to dwell upon only one aspect of the book - its generic origin; for I think that this question will sooner or later arise. To this effect, I would dare first narrate - very briefly - the contents of the book I would refer to it as `the book´, although it actually consists of two parts - but these parts are so closely related to each other, that it seems possible to speak of Nagana and Mzingile as one piece of work. To what literary genre shall we ascribe the latest work of Tanzania` s leading writer? I would dare to come forward with such a question, because within the structure of the book there seem to be at least four more or less easily tangible stylistic plans. The first one I would call a folkloristic plan, for Kezilahabi uses widely and vividly the elements of African folklore - from mythological concepts to folklore plots, inserted into the narration. The second stylistic plan of the book can be called that of a parable - a parable in the sense of a self-contained story conveying didactic message to a reader or a listener. The book is full of such stories. The next stylistic plan one can call that of science-fiction - or, I would rather say, of antiutopia, for the author draws apocalyptic pictures of the world after the nuclear war, implyin the technique inherent to science-fiction novels. Finally, another stylistic plan of the book can be called realistic - for the author gives, for example, the descriptions of modern city, where the Msichana-Mwokozi dwells, or of an African village, when he tells about the childhood of the main character, using the traditions of east African realistic novel, portraying shortly but vividly urban and rural life. I would say that this realistic plan takes smaller place than the other three - but it is by no means less noticeable.

This study elaborates how Kezilahabi depicts elements of Roman Catholic faith in his book Mzingile. Throughout the book religious institutions and the image of God are deconstructed. Nevertheless, Kezilahabi uses images derived from the Bible and Roman Catholic rituals to describe the new world order. This leads to the conclusion that the recognition of the existence of these concepts as concepts opens the way for the creation of a new world. Kezilahabi seems not to be convinced of the Roman Catholic faith being useful in search of the meaning of life. He rather builds upon the creative space, the emptiness left after the deconstruction of religious concepts.

Since the very moment of their appearance two recent works of Euphrase Kezilahabi- Nagana (1990) and Mzingile (1991)- hold a very special place in the whole development ofKiswahili literature, giving a lot of puzzles for the reader and a lot of material for the scholars of literature. I\'' m going to dwell upon only one aspect of the book - its generic origin; for I think that this question will sooner or later arise. To this effect, I would dare first narrate - very briefly - the contents of the book I would refer to it as `the book´, although it actually consists of two parts - but these parts are so closely related to each other, that it seems possible to speak of Nagana and Mzingile as one piece of work. To what literary genre shall we ascribe the latest work of Tanzania` s leading writer? I would dare to come forward with such a question, because within the structure of the book there seem to be at least four more or less easily tangible stylistic plans. The first one I would call a folkloristic plan, for Kezilahabi uses widely and vividly the elements of African folklore - from mythological concepts to folklore plots, inserted into the narration. The second stylistic plan of the book can be called that of a parable - a parable in the sense of a self-contained story conveying didactic message to a reader or a listener. The book is full of such stories. The next stylistic plan one can call that of science-fiction - or, I would rather say, of antiutopia, for the author draws apocalyptic pictures of the world after the nuclear war, implyin the technique inherent to science-fiction novels. Finally, another stylistic plan of the book can be called realistic - for the author gives, for example, the descriptions of modern city, where the Msichana-Mwokozi dwells, or of an African village, when he tells about the childhood of the main character, using the traditions of east African realistic novel, portraying shortly but vividly urban and rural life. I would say that this realistic plan takes smaller place than the other three - but it is by no means less noticeable.