Introduction: Everything Good Is Raining: Provisional Notes on the Nigerian Novel of the Third Generation

Adesanmi, Pius; Dunton, Chris

doi:10.2979/ral.2008.39.2.vii

Cited by 29 publications

(3 citation statements)

References 2 publications

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“…However, they fall short to realize the danger that her biased story represents in the Nigerian nation building effort. She surely, as Adesanmi and Dunton highpoint, attempts to "negotiate the affiliative processes of ethnic and national identity in the contested site of Nigerian nationhood" [5].Why is there no room for humanity when representing the Hausa in her narratives? She is the one who proclaims that "the danger in a single story is that whomever is conveying the story are the ones in power, and these power-holders determine the way in which those with the single-story are perceived" (quoted in [19] p.1).With an international readership and recognition, Adichie has gained power in telling stories; and as a power-holder, she attempts to determine the way in which the Hausa are perceived.…”

Section: Discussionmentioning

confidence: 99%

Emerging Themes in Chimamanda N. Adichie’s Fiction: Ethnic and National Identity Narratives in Half of a Yellow Sun and “A Private Experience”

Alou¹

2017

IOSR JHSS

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Abstract:In "The Danger of a Single Story," Chimamanda Ngozi Adichie reveals how people construct other people's image through the story they tell about them. She explains how power plays an important role in defining one group whose story is told over and over from the perspective of those in position of power. The end result, Adichie suggests, is that a single story reduces people to mere misrepresentations, what is even more dangerous about it, is that how people perceive the defined group is determined by the single story teller, that is, the more powerful. This study argues that Adichie herself comes close to misrepresenting Northern Nigerian identity in her fiction. Using postcolonial theory methods, this paper contends that Adichie's portrayal of the binary opposition Hausa/Igbo, Biafra/Nigeria, Islam/Christianity appears as dangerous as the single story that she claims she despises. The researcher, after acknowledging the many efforts so far made in exploring her Half of a Yellow Sun and "A Private Experience," supports that Adichie's characterization not only points at postcolonial identity dilemma but implicitly reflects her proclivity towards telling a single, unbalanced, story in her identity narrative and her underground Biafran activism.

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Section: Discussionmentioning

confidence: 99%

Emerging Themes in Chimamanda N. Adichie’s Fiction: Ethnic and National Identity Narratives in Half of a Yellow Sun and “A Private Experience”

Alou¹

2017

IOSR JHSS

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“…However, in the same way that these negative images travel through different media, the insurgency of other images about the African continent has entered the printed and virtual circuits of the West through contemporary African diasporas. Bryce (2008) and Adesanmi & Dunton (2008) point out that there is an emerging literary scene in Nigeria, stemming from the interest of Nigerians in creative writing courses, as well as the strengthening of the domestic Nigerian literary market and the exchange of printed books' distribution for accessing them on the web. In addition to the images of Africa circulating in literature, Nigeria has the third largest film production in the world.…”

Section: The Image Of Africamentioning

confidence: 99%

Educational Practices on Ethnic-racial Relations and the English Language Teaching through Image and Literature in an EFL Classroom

Coswosk

2020

IJECS

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The article analyzes the unfoldings of the teaching project Introducing Literatures in English, held in 2018 at the Federal Institute of Espírito Santo (IFES), based in Alegre-ES, Brazil. The project aimed at promoting the improvement of reading, writing and speaking skills of English as a foreign language (EFL) learners, departing from African Literature in English and photography, so that they had the opportunity to improve their language skills while developing a broader discussion on Africa’s ethnic-cultural and linguistic diversity, building a viewpoint about the African continent less tied to colonialism, slavery, apartheid and victimization.For reading and written analyses, the students took into consideration the photo-book Another Africa (1998), with photographs by Robert Lyons and poems by Chinua Achebe (1930-2013). Based on the poems and photographs brought to light in Another Africa, I analyzed 1) the students’ multimodal reading process, by connecting images generated by poems and photographs and written and oral texts the students produced around them; 2) the students’ reception of the poems, considering Achebe’s constant use of code-switching and 3) the construction of new viewpoints around Africa elaborated by the students, bearing in mind the importance of the role of language, memory and history, oral and literary traditions when it comes to African writers and a new perspective concerning the colonial legacy and its impact on English language.

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“…Indeed, the idea of women challenging traditional and hegemonic values in Nigeria has been prominent among female authors of the so-called “third generation” of Nigerian writers, a generation particularly defined as positing “tropes of nomadism, exile, displacement, and deracination which have become the emblematic features of global postmodernity and postcoloniality” (Adesanmi and Dunton, 2005: 16). Said to have brought about the revival of the Nigerian novel, this generation has expanded thematic boundaries and introduced new perspectives on homosexuality, migrancy, sexual abuse, and the Biafran War, to mention a few of the topics covered (Adesanmi and Dunton, 2008: viii).…”

Section: Introductionmentioning

confidence: 99%

Inf(l)ecting mind/body dialectics: Self-emancipation through insubordiNation in Chika Unigwe’s Night Dancer

Cruz-Gutiérrez

2018

The Journal of Commonwealth Literature

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As one of the most prominent voices of the so-called third generation of Nigerian authors, Chika Unigwe has engaged in the representation of female characters who embody alternative forms of feminism(s) in Nigeria and its diaspora. This article explores Unigwe’s novel Night Dancer (2012) as a distinctive third-generation novel advocating self-emancipation through the appropriation and reversal of patriarchal nationalist discourses which objectify and sexualize female bodies. The evolution of Ezi, Night Dancer’s main character, is examined in relation to Unigwe’s discussion of a lack of solidarity between women and the significance of intergenerational teaching. Against this background, I argue that the novel depicts Unigwe’s rejection of the mind/body dichotomy by relating it to Ezi’s commodification of her body, and to her engagement with and refusal of intergenerational discourses inscribing female bodies within epistemological nationalist discourses.

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Introduction: Everything Good Is Raining: Provisional Notes on the Nigerian Novel of the Third Generation

Cited by 29 publications

References 2 publications

Emerging Themes in Chimamanda N. Adichie’s Fiction: Ethnic and National Identity Narratives in Half of a Yellow Sun and “A Private Experience”

Emerging Themes in Chimamanda N. Adichie’s Fiction: Ethnic and National Identity Narratives in Half of a Yellow Sun and “A Private Experience”

Educational Practices on Ethnic-racial Relations and the English Language Teaching through Image and Literature in an EFL Classroom

Inf(l)ecting mind/body dialectics: Self-emancipation through insubordiNation in Chika Unigwe’s Night Dancer

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