east african literature essays on written and oral traditions

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East African Literature: Essays on Written and Oral Traditions Paperback – May 30, 2011

Purchase options and add-ons.

• Print length 510 pages
• Language English
• Publisher Logos Verlag
• Publication date May 30, 2011
• Dimensions 5.7 x 1.1 x 8.1 inches
• ISBN-10 3832528164
• ISBN-13 978-3832528164
• See all details

Product details

• Publisher ‏ : ‎ Logos Verlag (May 30, 2011)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 510 pages
• ISBN-10 ‏ : ‎ 3832528164
• ISBN-13 ‏ : ‎ 978-3832528164
• Item Weight ‏ : ‎ 1.36 pounds
• Dimensions ‏ : ‎ 5.7 x 1.1 x 8.1 inches

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East African Literature: Essays on Written and Oral Traditions (review)

• Ken Walibora Waliaula
• Indiana University Press
• Volume 43, Number 2, Summer 2012
• pp. 188-189
• View Citation

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East African Literature: Essays on Written and Oral Traditions, ed. J. K. S. Makokha, Egara Kabaji, and Dominica Dipio

2012, Research in African Literatures

Related Papers

Nathalie Arnold Koenings

This paper considers some of the questions posed by literary translations both from and into Swahili. While the questions a translator might address as she proceeds with each translation may be the same, their differing answers often highlight the translator’s different position towards, and history with, each target language, as well as her aesthetic and political commitments in each. The projects discussed are Mlenge Fanuel Mgendi’s comic short story Starehe gharama (Comfort is Expensive) about a young schoolboy’s misadventure on a daladala bus in Dar es Salaam and Tope Folarin’s Caine Prize shortlisted story Genesis (Mwanzo), in which two Nigerian boys living in the American Midwest witness their mother’s struggle with her new surroundings

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Ajumeze Henry

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Probably because of its relationship with a coastal culture, Swahili literature seems very aware of its position in the world. Through a reading of Swahili poems and novels across a range of genres, this paper explores the ways in which Swahili writers have engaged in a dialogue with the whole world, from the colonial period to the contemporary era. The evolution of well-identified literary forms such as epic poetry, ethnographic novel or crime novel will also pave the way for identifying the specificities of a Swahili cosmopolitanism anxious to cultivate an art of living in the age of a kind of globalization whose effects are often harshly felt at the local level. Because it has long developed an awareness of the world, Swahili literature has often pioneered the invention of literary forms that are able to translate locally the movements of the world.

Lugha na Fasihi : Scritti in onore e memoria di/Essays in honour and memory of Elena Bertoncini Zúbková. Edited by Flavia Aiello & Roberto Gaudioso. Napoli : UniorPress

Serena Talento

The Criterion: An International Journal in English

Gabriel Bamgbose

The assertions that the appraisal of African literature lacks theoretical rigour are not valid. The reading of literature cannot be theory-free. Every discourse written or spoken about literature is grounded in theory(ies). Steve Ogunpitan claims that “all forms of literary criticism, all kinds of reading of literature are informed by theory, whether or not the reader is conscious of it” (1999:101). The application of theories, X.J. Kennedy and Dana Gioia observe, enables the reader “to analyse imaginative literature more perceptively” (2007:1507). If the reading of literature cannot be divorced from theoretical rigour, then the appraisal of African literature cannot be an exception. The reading of African literature has been enriched by the application of methods drawn from contemporary literary theories. The appraisal of African literature, borrowing the words of Bill Ashcroft, Gareth Griffiths and Helen Tiffin (1989:155), “intersect in several ways” with contemporary literary theories such as postmodernism, Marxism, feminism, psychoanalysis, ecocriticism and so on. Even though African literature is “utilitarian” (Tanure Ojaide, 1995:4), scholars and critics of African literature have attempted to apply intrinsic or text-base theories such as formalism, New-Criticism, structuralism and post-structuralism to the study of African literature for proper elucidation. Prominent is the effort of the African critic, Sunday Anozie, to apply the structuralist poetics to African literature. Amaechi Akwanya (2000:68) posits that “there are no theories which apply exclusively to African literature.” This implies that the study of African literature is placed on the pedestal of contemporary critical traditions. The “appropriation” of contemporary literary theories “offer perspectives which illuminate some critical issues addressed” by African literary texts, although African literary discourse “itself is constituted in texts prior to and independent of” these theories (Ashcroft, Griffiths & Tiffin, 155). Contemporary theories of literature are “viable for the discussion of African literature but they need constantly to be interrogated and rethought” (Akwanya, 68). This paper makes a case for the practicability of African New Criticism, which is a sort of hybrid of the textual and the contextual as opposed to the Anglo-American New Criticism, which is extremely textual; it is a formalistic explication of text with focus on the intrinsic; however it strives to resist the temptation of ignoring the extrinsic since both are modes of signification of meaning. Attempts would be made to examine how New Critical theory is “interrogated” and “rethought” in African context. For the purpose of this study, two poems (see the appendix) selected from Remi Raji’s Gather my Blood Rivers of Songs (2009) would be engaged for critical analysis in order to justify the relevance of New Criticism in the explication of the multiple layers of meaning in African poetic discourse irrespective of the fact that the majority of African poets have always been considered free-versers.

THE INTERNATIONAL JOURNAL OF HUMANITIES & SOCIAL STUDIES

Adetunji O Adelokun

East African poetry has over the years enjoyed considerable growth and development. This commendable development has attracted critical appraisals, with critics explicating the trend through which the evolution of this literary tradition has taken. However, adequate attention has not been paid to the new poetics of the contemporary East African poets. This study, therefore, examined the new poetics the new generation of East African poetry. The study adopted post colonialism as a critical tool, for the critical appraisal of the poetry of two Anglophone East African poets. It selected Hurling Words at Consciousness and Give me Room to move my Feet by Mukoma Wa Ngugi and Mildred Kiconco Barya. The methods selected for analysis are literary and critical interpretations of the texts. The possible blend of cultural differences; rejection of conventionalised language models, investigation of social-rigidity in pre-colonial culture, are prominent thematic concerns discussed in the works of the poets. The collections are testaments of the creative deployment of ideological hybridity in the poetry of the contemporary phase of East African poetry. The thematic preoccupations explicated in the collections, depicts the ontological relevance of the contemporary poetry of East African literary tradition. Keywords: Post colonialism, hybridity, new poetics, contemporary east African poetry

Sylvester Mutunda

Abstract It has been observed that, in a multilingual environment where two or more languages and cultures are in contact, there is bound to be cultural-linguistic interferences. Such is the case with African literature of English expression where writers, as a result of colonialism, are at times compelled to relate their word views in colonial language (i.e. English) which does not easily express the African socio-cultural reality. To cope with this artistic dilemma, African writers employ various writing techniques to express their beliefs, values, and experiences. Based exclusively on the examples from Malama Katulwende’s Bitterness (2005), this paper attempts to examine how this contemporary Zambian writer has appropriated and reconstructed the English language in his text in order to convey what Sridhar (1982: 295) calls the mode of feelings and thinking peculiar to the writer’s cultural milieu. The paper starts out by outlining some of the debates around literatures in African languages, and then moves to a close reading of the novel. The argument made here is that, in his novel, Katulwende uses some linguistic processes which include direct lexical transfer, semantic shifts, loanwords, code-mixing, transliteration, proverbs and imagery. My study observes that, although Katulwende has sometimes deviated linguistically from Standard English, he has not falsified the English language. Rather, he has been able to bridge the gap between the various local discourses and the appropriate English language diction suitable to the characters and themes he depicts. The paper also contends that linguistic innovations in Katulwende’s story offers an outlet for language creativity and put a new life in the imported language. Finally, the paper concludes by suggesting that in this age of globalization, African writers cannot afford to deny their works a wider readership; therefore, they should consider the appropriation and reconstitution of English as a medium of African literature. Key words: Bemba proverbs, linguistic innovations, Zambian English, Zambian novel.

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