Characterisation has immense influence on the study of literature, because it is as one of the determinants in measuring the quality of a narrative. Thus, assessing this aspect of a narrative, especially when dealing with characters in a racist narrative, requires an encompassing analytical approach. Hence, this paper is aimed atanalysing the psychological impulses that underlying the personality formations of the black characters in Alex La Guma’sA Walk in the Night and In the Fog of the Season’s End. In which, it adopts Carl Gustav Jung’s Psychological Types. The choice of this psychoanalytical tool is informed by the fact that, of all the psychological discoveries of Jung, the psychological types or the psychology of individuation has been acknowledged as his most significant discovery in psychoanalysis which has not attracted the literary critical attention, especially in terms of character analysis. To this end, therefore, the study attempts to establish the two categories of the reactions identified by Jung, namely introversion and extraversion, using the two Alex La Guma’sfictions.In addition, through the psychological complexities of the characters, ultimately, it is revealed that the extreme reactions are the products of individual innate tendencies, devoid of the social or the racial affiliations.
Wole Soyinka and Samuel Beckett apparently occupy distinct places in the literary space, in all ramifications. Specifically, while the former’s dramaturgy is definable within the context of the traditional convention of playwriting, otherwise known as well-made plays, the latter is inherently non-conformist in this regard. Hence, the effort in this paper was to locate a nexus in their writings, using two of their plays, Death and the King’s Horseman and Endgame, respectively. Theatre of the Absurd, as an offshoot of existentialism, provided the ground for the critical intersection of philosophical and ideological geometry of the two plays. The critical paradigm essentially relied on the interconnectivity of absurdist writings and existentialist thoughts, as the holistic context which fundamentally defines modernism, to assess what is conceived as modernist theatricality in the two plays. Building on the modernists’ interrogation of man’s existence and essence in the world in which existential meaning is presumably lost, the paper concluded that the two texts are largely intoned with modernist thoughts, regardless of their formal or structural distinction. It arrived at this by placing particular emphasis on the playwrights’ attempts, in these works, at demanding a more spontaneous response to the question of the essence of the individual and his/her place in the universe in which meaning in existence, in the modernist sense, is believed to have been lost.
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