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.

Makala hii inachambua riwaya ya pili ya mwandishi maarufu wa Kiswahili, Euphrase Kezilahabi (*1944) iitwayo Kichwamaji (1974). Inajaribu kuzingatia mikondo miwili ya uchambuzi yaani inajadili kwa ufupi nadharia ipi au mkondo upi wa kimawazo unafaa zaidi katika kuichambua riwaya hiyo: udhanaishi au ufeministi. Je, inawezekana kuunganisha yote mawili? / In this essay, I would like to analyse the novel Kichwamaji (‘Empty-head’; 1974) by the well-known Tanzanian writer Euphrase Kezilahabi against the background of two philosophical theories: existentialism and feminism. I will first discuss existentialism and the existentialist elements in the novel. Then I will present feminist theory and focus on the female characters in Kichwamaji. I will argue that a feminist reading of the novel is impossible due to its predominant existentialist character.

Makala haya yanashughulikia maswahli ya udhanaishi katika fasihi ya Kiswahili. Makala yanalinganisha riwaya mbili, Mgeni ya mwandishi wa Kifaransa anayeitwa Albert Camus na Kichwamachi ya mwandishi wa Kiwahili, Euphrase Kezilahabi, na kuonyesha jinsi riwaya hizo zinayofanana na zinavyotofautiana. Kwa vile Kichwamaji inafanana na Mgeni, ni sahihi humwita Kezilahabi mwandishi ya udhanaishi, lakini kuna tofauti nyingi pia baina ya riwaya hizo mbili. Tofauti moja ni kwamba Albert Camus anamtazama mtu peke yake na hali yake iliyotengwa kabisa na watu wengine, na Kezilahabi, licha ya mtu peke yake, anaizingatia jamii nzima na hali yake vilevile. Tofauti hii ni tokeo la sifa za communalism katika mawazo Kiafrika ya kimapokeo yanayotilia mkazo jamaa na jami, siyo mtu peke yake. / This article analyses and compares the the two writings Kichwamaji by Euphrase Kezilahabi and L´etranger by Albert Camus. Written in the tradition of existentialism, the two writings have many similarities but also differ in some important aspects. While Camus sees the individual just by itself, Kezilahabi also includes the whole family and is writing with it in the tradition of the african communalism.

Text in German, summaries in German and English / Die Arbeit beschreibt und reflektiert aus missionswissenschaftlicher Perspektive das häufig mit „reverse mission“ bezeichnete Phänomen afrikanischer Mission in Europa. Dafür beschreibt und vergleicht sie drei relevante Perspektiven afrikanischen Ursprungs, um das noch wenig untersuchte Phänomen wissenschaftlich zu fassen. Anschließend wer-den die Ergebnisse missionswissenschaftlich gedeutet und die Rezeption des Phänomens in der deutschsprachigen Theologie und in der deutschen kirchlichen Landschaft unter-sucht. So wird identifiziert, welche Aspekte des internationalen Diskurses in Deutschland besondere Beachtung finden und welche missionstheologischen Positionen dazu vertre-ten werden. Davon ausgehend werden Perspektiven und Desiderate auf dem Weg zu einer multikulturellen Missionsbewegung benannt. / The study describes and reflects a phenomenon of African Missions to Europe, which is often called “reverse mission”, from a missiological perspective. For this purpose it describes and compares three relevant Africanrooted perspectives in order to catch this not jet well researched phenomenon. The results are interpreted missiological and the reception of the phenomenon in German speaking theology and in German churches is researched in order to identify, which aspects of the international discourse are attracting special interest in Germany and which missiological views are advanced. On that basis perspectives and desiderata for the future discourse on the way to a multicultural mission movement are named. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

German text / Die vorliegende wissenschaftliche Arbeit befasst sich mit den amaZioni, die den größten Teil der südafrikanischen AIC-Bewegung („African Independent/Indigenous/Initiated Churches“) ausmachen. Für die meisten Theologen stellen die amaZioni eine synkretistische christliche Kirchenbewegung dar, die in ihren Ritualen und Gottesdienstformen starke Einflüsse von traditionellen afrikanischen Religionen (ATR) aufweist. Nicht desto trotz öffnen sich viele der amaZioni-Kirchen gegenüber biblischer Lehre durch Missionare. Um eine solide Grundlage für die Missionsarbeit zu schaffen, befasst sich die vorgeschlagene Arbeit damit, wichtige Bedürfnisse der amaZioni zu erforschen, so dass diese als Anknüpfungspunkte für die weitere Evangeliumsverkündigung genutzt werden können. / The proposed research examines the needs of the amaZioni, who are part of the South African AIC-movement. The amaZioni, as one of the largest religious groups in South Africa, are viewed by most theologicans as syncretistic christian churches. It is obvious that their common believe system as well as their rituals show a strong influence of african traditional religions (ATR). But nevertheless, many of the members of the Zion-churches are opening up for bible teaching provided by missionaries. In order to establish a solid base for the future mission work the proposed research focuses on finding out the amaZioni's needs, so that this needs can be used as reference points in the endeavour of proclaiming the Gospel of Jesus Christ through the missionaries. / Christian Spirituality, Church History & Missiology / M. Th. (Missiology)

In der zimbawischen Literatur sind die Themen Nation, Körper, Gewalt, Sprache und Erinnerung aufs engste miteinander verbunden. Durch den Einfluß von Yvonne Vera hat sich in den 90er Jahren das Bild des weiblichen Körpers und insbesondere die Diskussion um koloniale und postkoloniale Gewalt deutlich verändert. Im ersten Teil der Arbeit geht es um die Frage nach Nation. Unterschiedliche Darstellungen von Nehanda und den Kämpferinnen des 2. Chimurenga werden näher beleuchtet. Außerdem geht es um Veras "pastoral novel" in der sie von einer weißen Farmersfrau erzählt. Im zweiten Teil geht es um die Körperkonzepte in der zimbabwischen Literatur. Gewalt in der Familie und vor allem der weibliche Körper als Schlachtfeld steht hier im Mittelpunkt. Die Vergewaltigte und die Prostituierte sind auch weiterhin Symbole für den kolonisierten afrikanischen Kontinent. Vera versucht diese Frauen aus einer anderen Perspektive zu betrachten. Bei ihr geht es um die Erfahrung der Frauen selbst. Der dritte Teil der Arbeit befasst sich schließlich mit der Frage nach der Darstellbarkeit von Gewalt. Wie ist es möglich von Gewalt zu erzählen, ohne die Gewalt zu reproduzieren? Vera beantwortet diese Frage mit der Reflexion über des Erzählen. Bei ihr wirkt Sprache heilend. / In Zimbabwean literature, the themes of nation, body, violence, language, and memory are closely connected. The dissertation analyses, how the treatment of these themes changed significantly during the 1990s. The focus lies on Yvonne Vera's work and its influence on the image of the female body and the debate about colonial as well as postcolonial violence. The first part deals with the question of nation at the example of various narratives about Nehanda and other female freedom fighters in the Second Chimurenga. Further material is drawn from Vera's "pastural novel", in which she tells about a white settler woman. The second part looks at body concepts in Zimbabwean literature. Special attention is paid to domestic violence and the image of the female body as battlefield. The raped woman and the prostitute are still widely used as symbols for the colonized African continent. Vera tries to break with this tradition by looking at such female characters from the perspective of their own experiences. The third part, finally, raises the issue of the representation of violence. How is possible to write about violence without reproducing it? Vera answers this question by reflecting about narration. Language thus works as a healing power in her texts.

Sociolingvistiska studier visar att kontakten mellan den brasilianska portugisiskan och afrikanska språk under kolonialtiden ledde till att afrikanska ord assimilerades in i det brasilianska talspråket. Vissa ord är idag en del av det brasilianska vardagsspråket, medan andra används enbart inom den afro-brasilianska religiösa kontexten. Den brasilianska populärmusiken kan ses som en viktig faktor för spridningen av ord med afrikanskt ursprung. Musiken är ett instrument med vilket det brasilianska samhället kan medvetandegöra sig om hur essentiellt Afrika var i det brasilianska samhällsskapandet. Samtidigt ges kännedom om de afrikanska orden och olika afro-brasilianska kulturella element. I de musikaliska verken av Gilberto Gil, en brasiliansk kompositör, musiker och artist, används ofta ord med afrikanskt ursprung. I den här studien analyseras dessa ord, och med hjälp av ett förslag till klassificering från den brasilianska etno-lingvisten Yeda Pessoa de Castro, görs ett försök att klassificera de afrikanska orden utifrån dess användning, beroende av dess sociokulturella nivå. Analysen visar att det förkommer ord med afrikanskt ursprung i stor del av kompositörens verk, majoriteten av dessa kommer ifrån de afrikanska språkgrupperna bantu och kwa. Orden kommer ifrån olika semantiska fält som till exempel mat, musik och kultur, och en majoritet är benämningar som kommer ifrån den Afro-brasilianska religiösa kontexten. Just det Afro-brasilianska religiösa temat är vanligt förekommande inom brasiliansk populärmusik, men i Gilberto Gils sångtexter ses också teman från den Afro-brasilianska sfären i användandet av välkända afrikanska ord, men det förkommer också ord som är för okända för den större publiken. Ett medvetet användande av de afrikanska orden ses som förstärkande i skapandet av en samhörighet med den Afro-brasilianska världen. / The sociolinguistic studies show that during the inter-linguistic contact between the Brazilian Portuguese and the African languages during the colonial period, many words were assimilated in the vernacular Portuguese of Brazil. Some of the words are today a part of the vernacular language, while others are used exclusively in Afro-Brazilian religious communities. For the diffusion of the words with African origins, the popular music could be an important factor. With this musical theme, the Brazilian society is reminded of the importance that Africa had in the forming of the Brazilian society, and the music brings awareness of the African words and the Afro-Brazilian cultural elements. There is a frequent use of these African words in the musical accomplishments of the Brazilian composer, musician and artist Gilberto Gil. In the present work these words are analyzed, and with the proposal for classification made by the Brazilian ethno-linguist Yeda Pessoa de Castro, the aim is to classify the words, depending on their sociolinguistic level. The analysis shows that the African words can be found in a great part of the composers work, and the majority comes from the banto and kwa languages. The words are being classified in various semantic fields, for an example food, music and culture, and the majorities are designations that come from Afro-Brazilian religion. The Afro-Brazilian religious theme is a common element in the Brazilian popular music, but in the song lyrics of Gilberto Gil the African theme is also showing in the use of well-known African word. Whereas others words with African origin are not that well known, but in the conscious use of Gilberto Gil words of African origin reinforce a connection to the Afro-Brazilian universe. / Pesquisas sociolinguísticas mostram que no contato linguístico entre o português brasileiro e as línguas africanas durante o tempo da colonização, muitas palavras africanas foram assimiladas à língua falada no Brasil. Certas palavras fazem hoje parte da língua cotidiana, enquanto outras são utilizadas exclusivamente nas comunidades de religião afro-brasileira. Para a difusão das palavras de matriz africana, as músicas populares podem ser um fator importante. Com a ajuda da música, a sociedade brasileira lembra-se da importância que teve a África na formação da sociedade brasileira, e leva para o conhecimento palavras africanas e elementos culturais afro-brasileiros. Na obra musical do compositor, músico e artista Gilberto Gil pode-se observar um uso frequente de palavras de matriz africana. Neste trabalho analisa-se este vocabulário, e com uma proposta de classificação feita pela etnolinguista Yeda Pessoa de Castro, procura-se classificar as palavras conforme o nível sociocultural no qual se encontram. A análise mostra que em grande parte da obra do compositor acham-se palavras africanas, a maioria de origem banto e kwa. As palavras vêm de campos semânticos diferentes como culinária, música, cultura e a maioria são designações derivadas de religiões afro-brasileiras. Justamente o tema da religião afro-brasileiro aparece como elemento comum na música popular brasileira, mas nas letras de Gilberto Gil é possível ver temas do universo afro-brasileiro também através do uso de palavras africanas. A análise mostra que algumas são bem conhecidas, outras nem tanto. O uso tão elaborado do léxico de origem africana por Gilberto Gil em suas letras de canções manifesta uma identificação com o universo afro no Brasil.

German text / Die vorliegende wissenschaftliche Arbeit befasst sich mit den amaZioni, die den größten Teil der südafrikanischen AIC-Bewegung („African Independent/Indigenous/Initiated Churches“) ausmachen. Für die meisten Theologen stellen die amaZioni eine synkretistische christliche Kirchenbewegung dar, die in ihren Ritualen und Gottesdienstformen starke Einflüsse von traditionellen afrikanischen Religionen (ATR) aufweist. Nicht desto trotz öffnen sich viele der amaZioni-Kirchen gegenüber biblischer Lehre durch Missionare. Um eine solide Grundlage für die Missionsarbeit zu schaffen, befasst sich die vorgeschlagene Arbeit damit, wichtige Bedürfnisse der amaZioni zu erforschen, so dass diese als Anknüpfungspunkte für die weitere Evangeliumsverkündigung genutzt werden können. / The proposed research examines the needs of the amaZioni, who are part of the South African AIC-movement. The amaZioni, as one of the largest religious groups in South Africa, are viewed by most theologicans as syncretistic christian churches. It is obvious that their common believe system as well as their rituals show a strong influence of african traditional religions (ATR). But nevertheless, many of the members of the Zion-churches are opening up for bible teaching provided by missionaries. In order to establish a solid base for the future mission work the proposed research focuses on finding out the amaZioni's needs, so that this needs can be used as reference points in the endeavour of proclaiming the Gospel of Jesus Christ through the missionaries. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

Die Arbeit untersucht Differenzdiskurse zu zwei historischen sozialen Identitäten im Manden (Westafrika) anhand mündlich und schriftlich tradierter Texte unterschiedlicher Sprachen (Bambara, Französisch, Deutsch, Englisch) und Genres (Reisebericht, Preislied (fasa), Epos (maana), Roman, Märchen (nsiirin), Lied (donkili)), die zwischen dem 14. bis 21. Jahrhundert erschienen sind. Die Differenz von horon, dem Edlen, Freien und jeli, dem 'Handhaber des Wortes' wird dabei höchst unterschiedlich als komplexer Beziehungsmodus diskursiv und performativ hervorgebracht und gestaltet. Als uneigentliche Differenz bildet sie sich unter der Prämisse des Schamprinzips vor allem entlang der jeweils vorgenommenen Zuschreibungen von freigiebigem Renommee-Suchenden und erbittendem Panegyriker. Die analysierten Texte, die den Zeitraum von Beginn des mittelalterlichen Mali-Reiches bis Mitte des 20. Jahrhunderts als intradiegetisches Setting haben, verhandeln die Differenz entsprechend spezifischer Wirkungsintentionen von einer Außenseiter-Perspektive, z.T. zur Legitimation kolonialer Absichten oder von einer Insider-Perspektive aus, um, teils politisch motiviert, das eigene kulturelle Erbe zu valorisieren oder auch um (historische) Mißstände anzuprangern. Dabei wird die Differenz von jeli und hↄrↄn unterschiedlich ausgestaltet, mit dem horon als Helden (ŋana, cεfarin), König (mansa, faama), Gastgeber (jatigi) und dem jeli als Meisterredner/sänger (ŋaara), Reputations-Verantwortlichen, Klienten des jatigi. Literatur wie Differenz wird als rhetorischer Ort kreativer Verhandlungen, strategischer (Neu)schöpfungen betrachtet, durch welche die jeweiligen Akteure spezifische Interessen verfolgen und damit variabel an Diskursen und damit an Wirklichkeiten mitgestalten. Jeli und horon verändern sich als literarische Konstruktion in Abhängigkeit von ästhetischen und ideologischen Strategien. / The present work examines discourses of difference about two historical social identities in Manden (West Africa) using oral and written literary texts of different languages (Bambara, French, German, English) and genres (travelogue, praise song (fasa), epic (maana), novel, fairy tale, song (dↄnkili)), published between the 14th to the 21st century. The difference between horon, the noble, the free, and jeli, the 'handler of the word', is produced and shaped in a highly differentiated way as a complex mode of relation(ship) in a discursive and performative manner. As an improper difference it is formed under the premise of the principle of shame, especially along the attributions made between the generous rewards seeker and the panegyrical requester. The analysed texts, which have the period from the beginning of the medieval Mali empire to the middle of the 20th century as an intradiegetic setting, negotiate the difference according to specific intended effects from an outsider perspective, eg. for purposes of legitimacy of colonial intentions or from an insider perspective, partly politically motivated, in order to valorise one's own cultural heritage or to denounce (historical) grievances. The difference between jeli and hↄrↄn appears in varying ways, with the horon as hero (ŋana, cεfarin), king (mansa, faama), host (jatigi) and the jeli as master-singer/-orator (ŋaara), reputational entrepreneur, client of a jatigi. Literature and Difference are considered both as a rhetorical place of creative negotiation, of strategic (re)creation, through which the respective actors pursue specific interests and thereby participate in shaping discourses and thus realities. The jeli, who is at the same time performer, narrator and protagonist of many narratives, and the horon, determined by his status and his ethos, change as a literary construction depending on aesthetic and ideological strategies.

Kein anderes Thema hat die nigerianische Literatur so dominiert wie der nigerianische Bürgerkrieg, in dessen Verarbeitung sich verstärkt auch Autorinnen einmischen. Die Dissertation evaluiert 34 Texte von 16 nigerianischen Autorinnen - 12 Romane und 22 Kurzgeschichten - und analysiert sie als Gesamtkorpus, in dem die Texte miteinander und mit der Männerliteratur einen Dialog um den Bürgerkrieg führen. Die Autorinnen wenden bei ihrem "war talk" literarische Strategien wie "re-reading" und "re-writing" an, das Neu-Lesen, Fort- und Umschreiben der Texte und Diskurse des "Zentrums", durch die nicht nur die Blindstellen eines von Männern dominierten literarischen Diskurses sichtbar werden, sondern durch die auch der Prozess des Aushandelns der Geschlechterverhältnisse sowie des Krieges selbst erfolgt, seiner Ursachen, Auslöser und Folgen. Die Autorinnen stellen den Krieg als "sexuelle Unordnung" dar, als Geschlechterkrieg. Die Untersuchung zeigt, dass bei der Verortung der Perspektive der Autorinnen neben Geschlecht, ethnischer Zugehörigkeit auch andere Faktoren, wie Alter, Race, Grad der Distanz oder Nähe etc. berücksichtigt werden müssen, um vorschnelle Festschreibungen zu vermeiden. Hierbei spielen die Paratexte eine wichtige Rolle, in denen die Autorinnen sich persönlich zum Krieg äußern. Die Arbeit bewegt sich an den Schnittstellen mehrerer Disziplinen: Literatur, Historiographie und Geschlechterstudien. In der Einleitung werden die theoretischen Prämissen im Kontext von Krieg, Geschlecht und literarischer Repäsentation behandelt. Das 1. Kapitel ist dem historischen Kontext des Bürgerkrieges, einschließlich der Rolle der Frauen darin gewidmet. Im 2. Kapitel geht es um die Darstellung des Krieges, des Selbst- und Feindbildes sowie der Zukunft. Das dritte Kapitel handelt von der Beziehung zwischen Bürger- und Geschlechterkrieg, vermittelt durch das Medium literarischer Text. Die Zusammenfassung der Ergebnisse und der Ausblick auf zukünftige Forschung erfolgt im Schlussteil. Der Anhang enthält ein vorläufiges Verzeichnis der gesamten Frauenliteratur über den nigerianischen Bürgerkrieg. / No other topic has dominated the Nigerian literature as much as the Nigerian Civil War and female authors increasingly interfere in its literary representation. The thesis evaluates 34 literary texts by 16 female Nigerian authors - 12 novels and 22 short stories - and analyses them as distinctive corpus whose individual texts are in a state of dialogue both with each other and with texts from male authors. The female authors use, in their "war talk", literary strategies like "re-reading" and "re-writing" of texts from the "Centre". On the one hand, these strategies enable them to make the blind spots of a male dominated literary discourse apparent/visible on the other hand, they facilitate the negotiation of gender relations and of the war itself, its causes, trigger points and consequences. The female authors represent war as "sexual disorder", as gender war. The study shows that in order to be able to locate an author''s perspective (and to avoid rash conclusions) it is essential to consider the different factors determining it - besides ethnicity and gender, also age, race, the grade of emotional involvement or distance etc. It is in this regard, where the paratexts play an important part, as in these authors express their personal views and comments on the war. The thesis is located at the interfaces of several disciplines: literary, historical and gender studies. The introduction deals with the theoretical backgrounds in the context of war, literary representation and gender. The first chapter is dedicated to the historical context of the Nigerian Civil War including the role of women. The second chapter looks at the paratexts, different representations of the war''s causes, the self-image, the enemy''s image and the future. The third chapter finally deals with the question how the relationship between Civil War and gender war is negotiated/conveyed through the medium of the literary texts. In the conclusion the results are summarized and prospects for future research are discussed. The appendix contains a preliminary bibliography of all literary texts on the Nigerian Civil War written by female authors.