Academic literature on the topic 'Women – africa – fiction'
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Journal articles on the topic "Women – africa – fiction"
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Ufuoma, Davies. "Alternative Realities, Transformation and the Goddess Myth in African Women’s Fiction: A Sociological Perspective of Flora Nwapa’s Efuru." International Journal of Research and Review 10, no. 7 (July 10, 2023): 253–56. http://dx.doi.org/10.52403/ijrr.20230732.
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African women writers have engaged in rhetorics and performative strategies, designed to project a sense of self redefinition for women in Africa. This is because in many African societies, women are largely invisible. However, over the past few decades, the narrative seems to be encouraging. Women writers have started contesting gendered roles, institutionalized structures and power relations that define their realities. Thus the paper examines Flora Nwapa’s utilization of the goddess mythology, to create alternative realities for self-recreation of the African woman. The author demonstrates that Nwapa weaves the goddess myth in the plotline to assert a revisionist order in the trado-cultural space. The goddess imagery is invested to construct a woman-centered ideology that supports women to attain psychological, economic spiritual and emotional succuor away from the realms of tradition. A sociological theoretical perspective is deployed for elucidation. Keywords: goddess myth, sociology, alternative realities, fiction.
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Hossain, Md Amir. "Doris Lessing’s Fiction as Feminist Projections." International Journal of English and Cultural Studies 1, no. 1 (March 6, 2018): 23. http://dx.doi.org/10.11114/ijecs.v1i1.3081.
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Doris Lessing, an unrivaled novelist in the literary genres around the globe, portrays the fundamental problems of women as well as social system of her times. Lessing searches for new models to communicate the experiences of a blocked woman writer, who spends her early life in Africa, becomes an active and a disappointed communist, who is a politically committed writer, a mother, a wife, or a mistress sometimes a woman. With her very keen and subtle attitude, Lessing wants to present women’s psychological conflicts between marriage and love; motherhood and profession, unfairness of the double standard; alienation of a single career woman; hollowness of marriage in the traditional order and society. Lessing portrays her women in various social problems and with various perspectives of male against female. She tries to awaken women community to protest against the patriarchy through her feminist writings. For this purpose, this research paper would like to examine the psychological conflicts and traumatic experiences of powerful heroines, including- Anna Wulf of The Golden Notebook, Mary Turner of The Grass Is Singing, and Clefts of The Cleft.
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Masumbe, Charity Besingi. "Courting The Id in Dystopian Fiction: A Freudian Study of J.M. Coetzee’s Disgrace." Global Academic Journal of Humanities and Social Sciences 6, no. 03 (June 8, 2024): 98–103. http://dx.doi.org/10.36348/gajhss.2024.v06i03.001.
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This article explored the moral decadence in post-Apartheid South Africa and examined the injuries that such immorality had on the psyche of the post-apartheid South African woman. It further analysed the necessary shifts in perception and interpretation that depressed South African woman had to grapple with in the face of the immoralities that ensued and identified the new vision of self, art and the world which women invent to liberate themselves from the shackles of morally decay societies. From this perspective, the work anchors on the hypothesis that most post-colonial African societies build immoral societal boundaries which give room to high level of immorality, thus creating avenues for varied philosophies and new modes of survival. Written against the backdrop of Pyscho-Analytic theory, the work concludes that there is the dire need for the moralization and reconstruction of public institutions for mental stability and nation building.
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Huber, Loreta, and Evelina Jonaitytė. "Oral Narrative Genres as Communicative Dialogic Resources and their Correlation to African Short Fiction." Respectus Philologicus, no. 37(42) (April 20, 2020): 137–46. http://dx.doi.org/10.15388/respectus.2020.37.42.45.
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Oral and written storytelling traditions in Africa developed at the same time and influenced each other in many ways. In the twentieth century, the relation between the deeply rooted oral tradition and literary traditions intensified.We aim to reveal literary analysis tools that help to trace ways how oral narrative genres found reflection in African short fiction under analysis. A case study is based on two short stories by women writers, The Rain Came by Grace Ogot and The Lovers by Bessie Head. Images and symbols both, in oral and written traditions in Africa, as well as the way they evolved and extended in a literary genre of short fiction are considered within the framework of hermeneutics, reader reception theory and feminist literary criticism.The results obtained in the study prove that oral narrative genres interact with literary genres, though most importantly, women’s writing as a literary category and images embodied in the short stories play a decisive role and deviation from the images embodied in African oral tradition.
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Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (June 17, 2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.
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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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Siddique, Rumana. "“WO”man of the People:." Crossings: A Journal of English Studies 8 (August 1, 2017): 179–88. http://dx.doi.org/10.59817/cjes.v8i.143.
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Gendered assumptions of nationalism have been an integral part of liberation and post-liberation theory and fiction resulting in the construction of disempowered national identities for women in the modern African states. The narratives of idealization and mythologizing sketch women in the developing literary canvas as symbolic or biological figures who had no active social or political roles or voices. This paper focuses on how gender roles in national identity and nation-building have evolved in the works of the major male African writer Chinua Achebe. It examines the narratives that have reinforced or challenged Achebe with particular focus on how the portrayal of women in his final novel stands him as a progressive in terms of a new vision of the role and space of women in modern Africa.
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Munos, Delphine. "Afrasian Entanglements and Generic Ambiguities in Sultan Somjee’s Bead Bai." Matatu 52, no. 1 (November 22, 2021): 188–207. http://dx.doi.org/10.1163/18757421-05201012.
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Abstract This article looks at Sultan Somjee’s Bead Bai (2012) which focuses on Sakina, a member of the Satpanth Ismaili community living in mid-twentieth century Kenya. Based on nine years of research and interviews with Khoja women who now reside in Western Europe and North America, Bead Bai is generally described as a “historical novel” or an “ethnographic fiction,” yet it also can be thought of as pertaining to the genre of what Brett Smith et al. (2015) call “ethnographic creative nonfiction.” I discuss the ways in which the ‘genre-bending’ aspects of Bead Bai participate in retracing the little-known history of Afrasian entanglements for Asian African women who sorted out, arranged and looked after ethnic beads during colonial times in East Africa. More specifically, I will suggest that, by toying with the boundary between fiction and ethnography, Somjee opens new gendered avenues for reinserting the category of the imaginary at the heart of Afrasian entanglements.
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Koussouhon, Léonard A., and Ida Tchibozo-Laine. "Tenor and Interpersonal Meaning in Amma Darko’s Fiction: A Feminist Approach." Studies in English Language Teaching 4, no. 4 (November 29, 2016): 650. http://dx.doi.org/10.22158/selt.v4n4p650.
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<p><em>Amma Darko overtly identifies herself as a spokeswoman of/for voiceless and defenseless women in her first three novels, Beyond the Horizon (1995), The Housemaid (1998) and Faceless (2003). By choosing women as protagonists of the aforementioned novels, Darko aims at unveiling and satirizing the detrimental effects of patriarchal societies in Africa and advocating for a society wherein exploitation and domination of men do not exist. In her literary works, Darko uses of linguistic resources. Thus, under the banner of Systemic Functional Linguistics (henceforth, SFL), this work analyzes the tenor of discourse and interpersonal meaning in three extracts drawn from the abovementioned novels. The description and interpretation of the linguistic resources seek to exude how the participants in the selected extracts establish and maintain interpersonal relationships therein. Besides, with the SFL theory, this study aims to unveil the feminist voice and struggle of Darko as encoded in the language of her fiction under scrutiny. </em></p>
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Fasselt, Rebecca. "Crossing genre boundaries: H. J. Golakai's Afropolitan chick-lit mysteries." Feminist Theory 20, no. 2 (February 25, 2019): 185–200. http://dx.doi.org/10.1177/1464700119831538.
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Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others.
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Kibble, Steve, and Ray Bush. "Reform of Apartheid and Continued Destabilisation in Southern Africa." Journal of Modern African Studies 24, no. 2 (June 1986): 203–27. http://dx.doi.org/10.1017/s0022278x00006856.
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Continuous pressure against the South African Government has led to what previously seemed unthinkable: the reform of apartheid. Strikes from 1973 onwards, the Soweto revolt in 1976, the increasing resistance from school and consumer boycotts, the strengthening black trade-union movement and mass political organisations, and the unceasing campaign by the African National Congress, have led the State President, P. W. Botha, to declare in early 1986 that apartheid in its present form cannot be maintained, despite strong reactions from sections of Afrikaner interests. Many of the structures thought essential to racial segregation are to go: the pass laws controlling the movement of African men and women, the fiction that the ‘Bantustans’ are ’independent’ or ‘national’ states, and that urban blacks are citizens of other countries. There is even the promise of political representation for Africans. These measures appear to mark the end of Botha's attempt to create a divided black working class — some with residence rights in white-only areas, and others, notably unskilled migrants, without. The specific shape of the more racially-integrated South Africa which Botha promises remains unclear. It is not surprising in a recession that the President appears to have recognised the inappropriateness and disproportionate cost which maintaining structures of black recruitment to white employers has on the state's exchequer — not including the cost of policing influx control.
Dissertations / Theses on the topic "Women – africa – fiction"
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Meoto, Elvira N. Huff Cynthia Anne. "The evolution and formation of identity a case study of West African women's fiction from 1960s to 1990s /." Normal, Ill. : Illinois State University, 2007. http://proquest.umi.com/pqdweb?index=0&did=1432770681&SrchMode=2&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1216232418&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2007.Title from title page screen, viewed on July 16, 2008. Dissertation Committee: Cynthia A. Huff (chair), Ronald L. Strickland, Paula Ressler. Includes bibliographical references (leaves 270-282) and abstract. Also available in print.
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West, Mary Eileen. "White women writing white : a study of identity and representation in (post-)apartheid literatures of South Africa." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/442.
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This thesis examines aspects of identity and representation using contemporary theories and definitions emerging out of a growing body of work known as whiteness studies. The condition of whiteness as it continues to inform identity politics in post-apartheid South Africa is explored in an analysis of selected texts written by white women, to demonstrate the ways in which whiteness continues to suggest normativity. In reading a representative selection of literatures produced in contemporary South Africa by white women writers, this study aims to illustrate the ambivalence apparent in the interstitial manifestations of emergent reconciliatory gestures that are at odds with residual traces of superiority. A sampling of disparate texts is examined to explore the representations of race and belonging in post-apartheid South Africa in the light of contemporary theories of whiteness which posit it as a powerful and invisible identification. The analysis attempts to plot a continuum from writers who are least, through to those who are most, aware of whiteness as a cultural construct and of their own positionality in relation to the discursive dynamics that inform South African racial politics. A contextualising overview of the terrain of whiteness studies is provided in Chapter One, marking the ideological and theoretical affiliations of this project, and foregrounding the construction of whiteness as an imagined identity in contemporary cultural criticism. It also provides a justification for the selection of the textual material under scrutiny. Chapter Two explores a genre that has been identified as a growing trend in South African fiction: the production of pulp fiction written by white middle-class women. Two such texts are the focus of this chapter, namely, Pamela Jooste’s People like Ourselves (2004) and Susan Mann’s One Tongue Singing (2005), and the complicities and clichés that are characteristic of popular literature are examined. Antjie Krog’s A Change of Tongue (2003) is the focus of Chapter Three. It is examined as a book offering the writer’s personal response to the difficulties of transformation within the first decade of South African democracy. Krog confronts her own defensiveness, her sense of normalcy, and her sense of alienation in relation to multiple encounters with different people. Chapter Four focuses on the journalism of Marianne Thamm. Her role as columnist for the popular women’s magazine, Fairlady is explored, particularly in relation to the inclusion of a contending voice writing against the general tenets of Fairlady. Thamm’s critique of the mores governing bourgeois white womanhood is read in relation to her role as officially sanctioned Court Jester. Her Fairlady columns have been collected in Mental Floss (2002) but the analysis includes selected columns from 2003 to 2005. Echo Location: A Guide to Sea Point for Residents and Visitors (1998) by Karen Press is the focus of Chapter Five. Her work is read as examining a white South African crisis of belonging in relation to the implications of mapping the co-ordinates of whiteness in South Africa. Chapter Six offers a reading of four short stories, written by Nadine Gordimer and Marlene van Niekerk. These stories are juxtaposed to trace an anxious impasse in white responses to suburbia, the place of enactment of white bourgeois mores, which both writers interrogate.
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Kortsch, Christine Bayles. "Women's handiwork dress culture, literacy, and social activism in British women's fiction, 1883--1900 (South Africa, Olive Schreiner, Ella Hepworth, Sarah Grand, Gertrude Dix, Margaret Oliphant) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 3.85 Mb., 259 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3221129.
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St, Clair Barbara. "Scissors paper rock." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001896.
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Meisel, Jacqueline Susan. "The deepest South : a comparative analysis of issues of exile in the work of selected women writers from South Africa and the American South." Thesis, University of Cumbria, 2013. http://insight.cumbria.ac.uk/id/eprint/3991/.
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This thesis examines the ways in which exile, both actual and metaphorical, informs the work of four path breaking female writers from South Africa and the American South: Carson McCullers, Bessie Head, Zoë Wicomb and Dorothy Allison. In this study, exilic consciousness is closely linked to postcolonial, nomadic feminisms which can best be understood as liminal, as fundamentally ‘out of place’. The border-crossings involved here are not only geographical, they also signify a change in critical consciousness, as the foundational texts of this thesis – Rosi Braidotti’s Nomadic Feminism and Francoise Lionnet and Shu-Mei Shih’s Minor Transnationalism – indicate. By exploring writers who problematise the categories of race, gender, sexuality and class I demonstrate how these writers offer new ways of reading the postcolonial condition as nomadic, and I examine the shared processes that nations and individuals undergo as they experience political and personal liberation struggles. My thesis is divided into four main parts. The opening section offers both an introduction to, and rationale for, the study, providing historical and sociocultural contextualisation linking South Africa and the American South; it goes on to establish my choices of Carson McCullers and Dorothy Allison as the southern US writers in this study and Bessie Head and Zoë Wicomb as the South Africans. In the opening chapter I interrogate self-representation and variations in autobiography by the four writers. Chapter 2 has as its focus body and exilic consciousness in selected work by all four writers. My final chapter examines identity formation as situated subjectivity in the work of Allison and Wicomb who are foregrounded here. I contend that transnationalism need not be seen as inevitably homogenising; rather, I show that minority individuals and groups can establish agency through transversal, lateral networks.
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Moore-Barnes, Shannon-Lee. "Nature, narrative and language in Marlene van Niekerk's Agaat." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1235.
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Conrad Aiken’s observation that the “landscape and the language are the same, and we ourselves are language and are land,” depicts the material terrain we inhabit as necessarily informing the language we speak. An important corollary to Aiken’s observation is language itself writes the land. I argue that the binary division between culture and nature, as well as the attempts to universalise languages, abstracts discourse from necessary situated knowledges, alienating the land from the language it embodies. The severing of culture and nature as implied by Aiken’s observation is indicative of humanity’s progressive isolation from the land through language, as well as from their embodied natures. Remoteness results in what Marlene van Niekerk’s novel Agaat (2006) terms a “poverty disease” (2006: 251). Michiel Heyns confirms that the character Agaat relates this barrenness of spirit to her “diagnosis of spiritual ills through human dealings with the soil” (2009: 132). I illustrate the novel’s revitalisation of language as an act of ecological recuperation that alleviates dis-eased consciousnesses by potentially recognising, valuing and responding to situated knowledges revealed in land narratives.1 My argument therefore uncovers the challenges that the novel directs at an unreformed and universal Western2 To this end I use critiques of colonialism that reveal culture’s assimilation of the Other, rationalist discourse that continues to appropriate nature as resource for a hierarchical culture. 3 By combining this literary analysis with a wider eco-theoretical enquiry I position my study in an interdisciplinary field of investigation. This is in response to the damaging consequences of the inherited and fragmentary nature of specialisation. In addition, by detailing literary and feminist especially the work of Val Plumwood, Donna Haraway and Nicole Brossard. I use these critiques to analyse self/Other oppositions that Western culture constructs and patrols to maintain a defensive culture of domination. I show how nature and all those feminised and marginalised by Western discourses that hierarchise culture have been consistently overlooked and under-represented by those who purport to ‘control’ the environment and privilege the symbolic language as the carrier of culture. Agaat provides fruitful terrain for the reflection of marginalised voices; voices that confirm the environment and language as necessarily both feminist and social justice issues. 1 My preference for the hyphenated usage of the word ‘dis-ease’ signals the equation between discomfort or unease and disease or sickness. 2 While I am concerned over emphasising words such as Western and Apartheid by capitalising them, I have decided to retain this form so as not to diminish the magnitude of the effect these discourses have had on global and regional communities. 3 When referring to Others I, like Karen J. Warren, capitalise the term. Warren defines Others as all earth Others subjected to “unjustified domination-subordination relationships” (2005: 252). responses to Western patriarchal discourse and its impact on nature, I show the ways in which literature negotiates the possible re-conceptualisation of our collective cultural imagination. Van Niekerk’s novel offers a sustained critique of the oppressive Western conceptual frameworks that have dominated Others through hegemonic constructions. Furthermore, I investigate what this writer might offer as an alternative to systems of social, political and ecological control and the violence it inflicts.
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Hale, Frederick. "Literary challenges to the heroic myth of the Voortrekkers : H.P. Lamont's War, wine and women and Stuart Cloete's Turning wheels." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52325.
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Thesis (PhD)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This dissertation is an interdisciplinary study of various historical novels which dealt to a greater or lesser degree with the Great Trek and were written between the 1840s and the 1930s in Dutch, Afrikaans and English but with particular emphasis on H.P. Lamont's War, Wine and Women and Stuart Cloete's Turning Wheels (1937). The analysis of all these fictional reconstructions focuses on the portrayal of the Voortrekkers found in them. Much attention is also paid to the historical contexts in which the two principal works in question were written and the great controversies which they occasioned because both of their authors had had the temerity to challenge the long-established myth of the heroic Voortrekkers, one of the holiest of the iconic cows in the barns of their Afrikaner descendants. Chapter I, "Introduction", is a statement of the purpose of the study, its place in the context of analyses of the history of Afrikaner nationalism, its structure and the sources on which it is based. Chapter II, "The Unfolding of the Myth of the Heroic Voortrekkers", traces its evolution from the 1830s to the 1930s and explores how both English-speaking South Africans and Afrikaners, especially Gustav PrelIer, purposefully contributed to it. Also highlighted in this chapter is the significance of the Great Trek Centenary and the events leading up to it in the middle and late 1930s in intensifying Afrikaner nationalism. Chapter III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek", considers especially how these works were used as vehicles for placing before Afrikaners the historic virtues of their ancestors both to provide models for emulation and to stimulate their ethnic pride. Chapter IV, "Sympathetic English Reconstructions of the Great Trek", deals with two novels, Eugenie de Kalb's Far Enough and Francis Brett Young's They Seek a Country, both of which reproduced the heroic myth to some extent. Chapter V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War, Wine and Women" establishes the context of intensifying Afrikaner nationalism which this immigrant from the United Kingdom encountered in the late 1920s when he accepted a lectureship at the University of Pretoria and why this context was hostile to a novel which was critical of Afrikanerdom. Chapter VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa" explores how this work, conceived as a "war book" dealing with the 1914-1918 conflict in Europe, depicted both Englishmen and Afrikaners negatively. Chapter VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over War, Wine and Women" deals with the hostile reception of Lamont's pseudonymously published novel, the physical assault on him and his dismissal from his lectureship at the University of Pretoria. Chapter VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days in Africa", explores how the author, after relurning lo England, used his pen as a weapon for striking back al his Afrikaans foes in South Africa. Chapter IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning U'heels", focuses on the portrayal of various ethnic types in his gallery of characters. Chapter X, "The Con troversy over Turning U'heels", handles the hostile and apparently orchestrated reaction to Cloete's book and how it was eventually banned. Chapter XI, "Conclusion: Quod Eral Demonstrandum", summarises several thematic findings which a detailed examination of the novels in their historical context yields.
AFRIKAANSE OPSOMMING: Hierdie verhandeling is 'n interdissiplinêre studie van verskeie historiese romans waarin daar in 'n mindere ofmeerdere mate op die Groot Trek gefokus word en wat geskryfis tussen die 1840's en die 1930's in Nederlands, Afrikaans en Engels, maar met die klem op H. P. Lamont se War, Wine and Wamen en Stuart Cloete se Turning Wheels (1937) in die besonder. Die analise van al hierdie fiktiewe rekonstruksies fokus op die uitbeelding van die Voortrekkers daarin. Daar word ook in die besonder aandag gegee aan die historiese kontekste waarbinne hierdie twee hoofwerke geskryfis en die groot polemiek daarrondom, omdat beide outeurs die vermetelheid gehad het om die lank reeds gevestigde mite van die heldhaftige Voortrekkers, een van die heiligste ikoniese koeie in die skure van die Afrikanernageslagte, uit te daag. Hoofstuk I, "Introduction", stel die doel van die studie, waar dit staan in die konteks van analises van die geskiedenis van Afrikanernasionalisme, die skruktuur en die bronne waarop dit gebaseer is. Hoofstuk II, "The Unfolding of the Myth of the Herioc Voortrekkers", volg die evolusie van Afrikanernasionalisme van die 1830's tot die 1930's en ondersoek op beide Engelssprekende Suid-Afrikaners en Afrikaners, veral Gustav Preller, doelgerig hiertoe bygedra het. In hierdie hoofstuk word daar ook beklemtoon hoe betekenisvol die honderdjarige herdenking van die Groot Trek en die gebeure wat daartoe aanleiding gegee het gedurende die middel- en laat 1930's, bygedra het tot die versterking van Afrikanernasionalisme. Hoofstuk III, "The Heroic Myth in Early Dutch and Afrikaans Novels about the Great Trek", bespreek veral hoe hierdie werke gebruik is om aan Afrikaners die historiese deugsaamheid van hulle voorvaders voor te hou en wat as voorbeelde moet dien wat nagestreef moet word en om hulle etniese trots te stimuleer. Hoofstuk IV, "Sympathetic English Reconstructions of the Great Trek", bespreek twee romans, Far Enough van Eugenie de Kalb en TheySeek a Country van Francis Brett Young, wat altwee die heroïse mite in 'n sekere mate herproduseer. Hoofstuk V, "Rendezvous with Disaster? The South Africa in Which Lamont Wrote War, Wine and Women" vestig die konteks van groeiende Afrikanernasionalisme wat hierdie immigrant van die Verenigde Koninkryk in die laat 1920's teëgekom het toe hy 'n lektoraat aan die Universiteit van Pretoria aanvaar het, en hoekom hierdie konteks vyandiggesind was teenoor 'n roman wat krities was teenoor die Afrikanerdom. Hoofstuk VI, "Wa1~ Wine and Women: Its General Context and Commentary on South Africa" ondersoek hoe hierdie werk, beskou as 'n "oorlogsboek" wat handeloor die 1914-1918 konflik in Europa, beide die Engelse en die Afrikaners in 'n negatiewe lig gestel het. Hoofstuk VII, "Academic Freedom vs. Afrikaner Nationalism: The Consequential Strife over War, Wine and Women" skenk aandag aan die vyandige ontvangs van Lamont se roman (gepubliseer onder 'n skuilnaam), die fisieke aanval op hom en sy ontslag as lektor van die Universiteit van Pretoria. Hoofstuk VIII, "The Rhetoric of Revenge in Lamont's Halcyon Days inAfrica", ondersoekhoe die outeur, na hy na Engeland teruggekeer het, sy pen as wapen gebruik het in 'n teenaanval op sy Afrikaanse vyande in Suid-Afrika. Hoofstuk IX, "Stuart Cloete's Portrayal of the Voortrekkers in Turning Wheels", fokus op die uitbeelding van verskeie etniese tipes in sy gallery karakters. Hoofstuk X, "The Controversy over Tumng Wheels", bespreek die vyandige en klaarblyklike georkestreerde reaksie op Cloete se boek, en hoe dit uiteindelik verban is. Hoofstuk XI, "Conclusion: Quod Era! Demonstrandum", bied 'n opsomming van verskei tematiese bevindinge aan, wat deur 'n gedetaileerde ondersoek van die romans opgelewer is.
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Ivey, Adriane Louise. "Rewriting Christianity : African American women writers and the Bible /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9987234.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-216). Also available for download via the World Wide Web; free to University of Oregon users.
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Hebbar, Reshmi J. "Modeling minority women : heroines in African and Asian American fiction /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb400508717.
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Thomas, T. Tipper. "The Wonder Woman Papers." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1192205726.
Full textBooks on the topic "Women – africa – fiction"
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Omonzejie, Eunice E. Women novelists in francophone Black Africa. Porto-Novo, Benin: Editions Sonou d'Afrique (ESAF), 2011.
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H, Bruner Charlotte, ed. Unwinding threads: Writing by women in Africa. London: Heinemann, 1987.
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Ogunyemi, Chikwenye Okonjo. Africa wo/man palava: The Nigerian novel by women. Chicago: University of Chicago Press, 1996.
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Nadine, Gordimer. None to accompany me. USA: Penguin, 1995.
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Condé, Maryse. Heremakhonon. Boulder, Colo: Lynne Rienner Publishers, 1999.
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Condé, Maryse. Heremakhonon. Boulder: Lynne Rienner Publishers, 2000.
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NDiaye, Marie. Three strong women. London: MacLehose Press, 2012.
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Bloem, Trudie. Krotoa-Eva: The woman from Robben Island. Cape Town: Kwela, 1999.
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Nadine, Gordimer. None to accompany me. Harmondsworth: Penguin, 1995.
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Mortimer, Mildred P. Writing from the hearth: Public, domestic, and imaginative space in francophone women's fiction of Africa and the Caribbean. Lanham, MD: Lexington Books, 2007.
Find full textBook chapters on the topic "Women – africa – fiction"
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Nunes, Ana. "Introduction." In African American Women Writers’ Historical Fiction, 1–7. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_1.
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Nunes, Ana. "Contexts." In African American Women Writers’ Historical Fiction, 9–23. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_2.
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Nunes, Ana. "Setting the Record Straight." In African American Women Writers’ Historical Fiction, 25–61. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_3.
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Nunes, Ana. "History as Birthmark." In African American Women Writers’ Historical Fiction, 63–96. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_4.
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Nunes, Ana. "“The Undocumentable Inside of History”." In African American Women Writers’ Historical Fiction, 97–132. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_5.
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Nunes, Ana. "“Her Best Thing, Her Beautiful, Magical Best Thing”." In African American Women Writers’ Historical Fiction, 133–70. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_6.
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Nunes, Ana. "Conclusion." In African American Women Writers’ Historical Fiction, 171–78. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118850_7.
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Holterhoff, Kate. "Desiring African Women in H. Rider Haggard's Adventure Fiction." In Illustration in Fin-de-Siècle Transatlantic Romance Fiction, 95–126. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003017684-4.
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Sackeyfio, Rose A. "Engaging the diaspora in contemporary works by African women writers." In Transnational Africana Women's Fictions, 101–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003177272-9.
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Sackeyfio, Rose A. "Unbelonging, race, and journeys of the self in the diaspora fiction of Buchi Emecheta." In West African Women in the Diaspora, 13–26. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003219323-2.
Full textConference papers on the topic "Women – africa – fiction"
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Tavares, Tatiana. "Paradoxical saints: Polyvocality in an interactive AR digital narrative." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.81.
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This artistic, practice-led PhD thesis is concerned with the potentials of polyvocality and interactive digital narrative. The practical project, Saints of Paradox, is constructed as a printed picture book that can be experienced through an Augmented Reality [AR] platform. The fictional story entails a woman who mourns the disappearance of her lover in the 1964 Brazilian coup d’état and lives for 40 years in a room of accumulated memories. IIn each illustration, the user can select three buttons on the tablet device that activates a different version of the story. Three narrators (saints) present interconnected but diverging interpretations of the events shaped by their distinct theological positions. The respective values of compassion, orthodoxy, and pragmatic realism distort details of imagery, sound, movement, and meaning. AR animated vignettes, each backed by a uniquely composed cinematic soundscape, allow characters to populate the luxuriously illustrated world. Candles flicker and burn, snakes curl through breathing flowerbeds, and rooms furnished with the contents of accumulated memories pulsate with mystery. The scanned image reviews an interactive parallax that produces a sense of three-dimensional space, functioning as a technical and conceptual component. Theoretically, the story navigates relationships between the real and the imagined and refers to magical real binary modes of textual representation (Flores, 1955, Champi, 1980; Slemon, 1988, 1995; Spindler, 1993; Zamora and Faris; 1995; Bowers, 2004). Here, meaning negotiates an unreliable, sometimes paradoxical pathway between rational and irrational accounting and polyvocal narration. The dynamics between the book and the AR environments produce a sense of mixed reality (actual and virtual). The narrative experience resides primarily in an unstable virtual world, and the printed book functions as an enigmatic unoccupied vessel. Because of this, we encounter a sense of ontological reversal where the ‘virtual’ answers the ambiguities presented by the ‘real’ (the book). In the work, religious syncretism operates as a reference to Brazilian culture and an artistic device used to communicate a negotiation of different voices and points of view. The strange and somehow congruous forms of European, African, and indigenous influences merge to form the photomontage world of the novel. Fragments of imagery may be considered semiotic markers of cultural and ideological miscegenation and assembled into an ambiguous ‘new real’ state of being that suggests syncretic completeness. Methodologically, the project emanates from a post-positivist, artistic research paradigm (Klein, 2010). It is supported by a heuristic approach (Douglass and Moustakas, 1985) to the discovery and refinement of ideas through indwelling and explicitness. Thus, the research draws upon tacit and explicit knowledge in developing a fictional narrative, structure, and stylistic treatments. A series of research methods were employed to assess the communicative potential of the work. Collaboration with other practitioners enabled high expertise levels and provided an informed platform of exchange and idea progression.