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Books on the topic 'Adichie, Chimamanda Ngozi'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Adichie, Chimamanda Ngozi. Chimamanda Ngozi Adichie: The curio in phenomenality competence in narrative. Enugu, Nigeria: Samdrew Productions, 2011.

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2

Bane, Jeff, and Katlin Sarantou. Chimamanda Ngozi Adichie. Cherry Lake Publishing, 2019.

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3

Bane, Jeff, and Katlin Sarantou. Chimamanda Ngozi Adichie. Cherry Lake Publishing, 2019.

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4

Chimamanda Ngozi Adichie. Cherry Lake Publishing, 2019.

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5

Bane, Jeff, and Katlin Sarantou. Chimamanda Ngozi Adichie. Cherry Lake Publishing, 2019.

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6

Adichie, Chimamanda Ngozi. Americanah: Chimamanda Ngozi Adichie. Fourth Estate, 2021.

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7

Tunca, Daria. Conversations with Chimamanda Ngozi Adichie. University Press of Mississippi, 2020.

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8

Tunca, Daria. Conversations with Chimamanda Ngozi Adichie. University Press of Mississippi, 2020.

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9

Emenyonu, Ernest N. Companion to Chimamanda Ngozi Adichie. Boydell & Brewer, Limited, 2017.

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10

Conversations with Chimamanda Ngozi Adichie. University Press of Mississippi, 2020.

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11

Conversations with Chimamanda Ngozi Adichie. University Press of Mississippi, 2020.

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12

Emenyonu, Ernest N. Companion to Chimamanda Ngozi Adichie. Boydell & Brewer, Limited, 2020.

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13

Emenyonu, Ernest N. Companion to Chimamanda Ngozi Adichie. Boydell & Brewer, Limited, 2017.

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14

A companion to Chimamanda Ngozi Adichie. 2017.

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15

SuperSummary. Study Guide: Americanah by Chimamanda Ngozi Adichie. Independently Published, 2019.

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16

Staff, InstaRead Summaries. Americanah: By Chimamanda Ngozi Adichie - Summary and Analysis. IDB, 2016.

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17

Summary of Americanah: By Chimamanda Ngozi Adichie - Summary and Analysis. IDB, 2016.

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18

Study Guide: Half of a Yellow Sun by Chimamanda Ngozi Adichie. Independently Published, 2019.

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19

SuperSummary. Study Guide: We Should All Be Feminists by Chimamanda Ngozi Adichie. Independently Published, 2021.

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20

Books, Worth. Summary and Analysis of Americanah: Based on the Book by Chimamanda Ngozi Adichie. Worth Books, 2017.

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21

Dawson, Hannah. Penguin Book of Feminist Writing: From Christine de Pizan to Chimamanda Ngozi Adichie. Penguin Books, Limited, 2021.

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22

Adichie, Chimamanda Ngozi. Half of a Yellow Sun, Americanah, Purple Hibiscus: Chimamanda Ngozi Adichie Three-Book Collection. HarperCollins Publishers Limited, 2014.

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23

Rukuni, Samuel. Engrained in political and cultural dynamics : negotiations of violence: In Dambudzo Marechera, Shimmer Chinodya, Valerie Tagwira and Chimamanda Ngozi Adichie. CreateSpace Independent Publishing Platform, 2018.

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24

Dzoro, Lovemore, and Samuel Rukuni. School Effectiveness : ROAD TOWARDS the SECRETARY's BELL MERIT AWARD: Negotiations of Violence in Selected Texts by Dambudzo Marechera, Shimmer Chinodya, Valerie Tagwira and Chimamanda Ngozi Adichie. Independently Published, 2019.

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25

Leader-Picone, Cameron. Black and More than Black. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824516.001.0001.

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This book analyzes twenty-first century African American fiction through the proliferation of post categories that arose in the new millennium. These post categories—post-black, post-racialism, post-Soul—articulate a shift away from the racial aesthetics associated with the Black Arts Movement and argue for the individual agency of Black artists over the meaning of racial identity in their work. Analyzing key works by Colson Whitehead, Alice Randall, Chimamanda Ngozi Adichie, Paul Beatty, Jesmyn Ward, and Kiese Laymon, this book argues that twenty-first century African American fiction highlights the push and pull between claims of post-civil rights progress and the recognition of the entrenchment of structural racism. The book contextualizes this shift through the rise of, and presidency of, Barack Obama and the revision of Du Boisian double consciousness. It examines Obama through an analysis of the discourse surrounding his rise, Obama’s own writings, and his appearance as a character. The book concludes that while the claims of progress associated with Barack Obama’s presidency and the post era categories to which it was connected were overly optimistic, they represent a major shift towards an individualistic conception of racial identity that continues to resist claims of responsibility imposed on Black artists.

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26

Hero, Course. Study Guide for Chimamanda Ngozi Adichie's Half of a Yellow Sun. Independently Published, 2021.

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27

Aguirre, Susana E., and María Luján Lanciotti, eds. Voces del relato histórico. Editorial de la Universidad Nacional de La Plata (EDULP), 2017. http://dx.doi.org/10.35537/10915/63692.

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Este libro se gestó a la sombra de un gran interrogante que atraviesa nuestro trabajo en el aula, puntualmente ¿cómo proporcionar a los/as estudiantes textos que sin dejar de ser rigurosos y académicos faciliten la comprensión de la Historia, Historia del Arte y Geografía? Fue en esa dirección que asumimos este desafío, ahora plasmado en su escritura, con el objetivo de generar una producción académica, pero mediada, para optimizar el acceso y la lectura de los/as estudiantes en la dinámica del proceso de enseñanza y aprendizaje. Los trabajos que integran esta producción se inscriben en una línea que persigue aunar criterios metodológicos y didácticos, propugnando el fortalecimiento de los equipos docentes en función de la enseñanza de las Ciencias Sociales en el ámbito del Bachillerato de Bellas Artes. La escritura de los capítulos adhiere a una perspectiva de abordaje del pasado descentrada de los lineamientos de la “historia única”, narrativa en torno a la cual se han solidificado determinadas memorias silenciándose otras, alternativas o discrepantes. La novelista nigeriana Chimamanda Ngozi Adichie, en su brillante conferencia titulada The dangers of a single story (2010) pone la mirada en el poder y en el rol que este ha desempeñado en la elaboración de las versiones sobre el pasado. En suma, del poder depende quiénes son los que cuentan, cómo se cuenta, cuánto se cuenta, “es la habilidad no sólo de contar la historia del otro, sino de hacer que esa sea la historia definitiva”. Por lo general, se trata de “una historia lineal y estatista, que nos impide ver que en cada momento del pasado ha existido una diversidad de futuros posibles” (Fontana, 2003, 17), que fueron proyectos alternativos que no lograron sus fines y quedaron subsumidos bajo la versión que finalmente se impuso. En esa trama, los sujetos sociales en los que se pone el foco de atención son siempre las personas “relevantes” que pertenecen a los grupos dominantes, por lo tanto, el relato histórico toma distancia de los hombres y mujeres comunes, personas de carne y hueso que también contribuyen a moldear el microcosmos del cual formaron parte.

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