Acculturation and Coming of age in female African writing; a Freudian psychoanalysis of Tsitsi Dangarembga’s Nervous Conditions and Chimamada Adichie’s Purple Hibiscus
- Authors: Abiodun, Adedoyin Catherine
- Date: 2019
- Subjects: African literature (English)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10353/16274 , vital:40704
- Description: This study explores Acculturation and Coming of age not only as a social process but also a psychological one. The constructs are examined in line with Freudian psychoanalytic theory. The study focuses on migrant inclination of two female African writers, Tsitsi Dangarembga and Chimamanda Adichie in Nervous Conditions and Purple Hibiscus respectively. Through the study, it is discovered that acculturation involves both cultural and psychological change or adaptation and failure in either can result in trauma or produce socially imbalanced individuals. In other to have a healthy coming of age, family and the home status play a very significant role in the totality of an individual and also serves as a microcosm of social and political milieu. Also, the study in the course of the study, we discover there is no ‘authentic African culture’, culture is non-static and so, the study also discusses culture as being transnational and translational. The writers’ consciousness of space and place in their writing through reminiscent times of childhood play significant roles. Childhood figures are constructed in a matrix of concrete memories, spaces, places and times that play a significant role in the production of meanings of their migrant identities. The study identifies ways in which female socialisation further enhances her marginalisation in the society and how the family in the African setting as an ideological state apparatus contributes in ensuring the marginalised position of women. The authors being studied interrogate methods of raising children among African families in contemporary society
- Full Text:
Examining the position of black South African accents in English in Drama Departments within institutions in the Western Cape Province: a case study
- Authors: Seekoe, Leanetse Thato
- Date: 2019
- Subjects: English language
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10353/16397 , vital:40716
- Description: This dissertation examines the treatment and perceptions of black South African accents in English in the drama departments of specific institutions of higher learning in the Western Cape Province. The researcher is concerned with the handling of African native cultural identities in the curriculum policy of Drama Departments in higher education institutions in the Western Cape Province. Although the focus of the research is on the institutions that are based in the Western Cape Province, the subjects that are being discussed are representatives of black people in South Africa as a whole. To portray the issue of accents appropriately, the examination does often refer to language as a relatable concept. In the literature of this dissertation, there is ample support for the claim that language differences and disagreements in South Africa are due to the historical and socio-political stance of the European native. After examining the topic of power and social control, the study points out that the native is rarely in control of the interests of the European descendent. Thus, the relationship between the two is immediately assumed before it has even been established. For the purpose of this discussion, ambiguity is appreciated when intimacy between cultures evolves for the greater good. However, it is disregarded when individual voices are diluted into neutral or standard representations of a language. And so the act of reducing black South African accents in English to mirror that of the Euro-American culture robs the natives of their individuality and imprisons them into cultural assimilation. Ultimately, this study intends to identify different groups of black South Africans who speak English with accents. For clarity has divided into two separate groups namely privileged and unprivileged. Accents that are appreciated by white South African English speakers are considered to be privileged, while accents that carry the undertones of any mother-tongue language are recognised in this research study as unprivileged. The study wishes to present this phenomenon as a social issue that will negatively affect the growth of indigenous participation in performance spaces in the Western Cape which the study assumes as the context for the research. The implication of the study is to potentially eliminate issues of inferiority to those black South African accents that have been regarded as less valuable to dramatic performances in the Western Cape, to the extent that platforms of dramatic performances will broaden in order for black South African accents to be prioritised with relevant usage
- Full Text:
“Culture” as an Agent of Societal Regeneration: A Study of Selected Dramatic Literature by Soyinka, Osofisan and Rotimi
- Authors: Megbowon, Funmilola Kemi
- Date: 2019
- Subjects: Literature English drama
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10353/15826 , vital:40530
- Description: Contemporary Yoruba society is laden with the burden of diverse societal misconducts and perversions which are seen to be entrenched in the fabric of the individuals’ daily lives and the society. These misconducts have alarming patterns and worrisome future implications. In this study, it is argued that while all-round forward progress is essential in a society, a simultaneous disconnect with some conventional and traditional element stimulates these aforementioned delinquencies. This therefore calls for societal regeneration of the contemporary Yoruba society in view of achieving a sustainable future. The study further argued that societal regeneration could only be achieved by looking backward into some indigenous cultural elements that made the traditional society a relatively non-perverted society. This argument is presented by examining contemporary dramatic works by Nigerian playwrights whose writings are done in the light of the past. Their works are imperatives because literature is viewed as one of the means of preserving and educating the society of their history, culture and beliefs, and also mirroring the present and projecting into the future. Specifically, the objectives of this study are: 1) To evaluate the levels of cultural and moral values in contemporary Yoruba Society; 2) To examine the key moral and cultural paradigms of the traditional Yoruba tribe of Nigeria; 3) To examine the position of the writers as vanguard of moral and cultural values in contemporary and future Nigerian Society; 4) To examine challenges that arise against their efforts to resuscitate traditional morals and culture among the Yoruba people of Nigeria. These objectives were achieved using textual and interpretative analytical procedures in the texts written by Soyinka, Osofisan and Rotimi. These texts which includeThe Swamp Dwellers, Death and the King’s Horseman, The Trials of Brother vi Jero, The Women of Owu, Kurunmi and The Gods are not to Blame, are all examined within the context of postcolonial theory. The historical endowment of examined playwrights motivated their desire to assert their cultural identity and to preserve their traditional values. The playwrights reflect common concern of the need to appreciate and where necessary to retain traditional cultural values as well as the need to rid society of those traditions that hinder human and society's growth. Each author approaches these concerns from a cultural perspective, they emphasise the rationality and need of establishing their national identity, thereby stressing the importance of traditional values in the process. In a society like the Yoruba where each segment has been affected by extended agents of colonisation, the hope of restoration also lies in the hand of the playwrights who have constantly emphasised through their writings the role of the essentials of Yoruba culture in societal development. The examination of the key moral and cultural paradigms of the traditional Yoruba people of Nigeria, which is objective two of this thesis, is presented within the context of each of the six selected texts. They are discussed in Chapters three to five of the study with respect to each of the authors of the play and the identified relevant sociocultural issues. From the examined literary texts, it is seen that the traditional Yoruba moral and cultural paradigms are distinctive and diverse. Some of these key paradigms represented in the texts include religious practices, language, clothing, respect for elders, chastity before marriage, marriage, justice, marital fidelity, hard work, and leadership accountability. All these key paradigms centre on interpersonal relationships and communal interaction together with the irreplaceable position of the vii gods which are observed to have been imperative in the workings of the traditional Yoruba society, making it a less perverse one. In Chapter six, inferences on the inferred pivotal position of playwright as vanguard of indigenous culture and the conflicts that arise against playwrights’ efforts to resuscitate a moral culture in the Yoruba society of Nigeria which are the objectives three and four of the study are explored. It is identified in the chapter that the battle for lost identity and cultural values is being fought on numerous fronts. Some of the key issues identified as confronting and silencing playwrights’ influences in the society include evolving diversities in ideologies, education, technology, the entertainment industry, and urbanisation. This study recommends the necessity of looking into the economic, social, and cultural development of the Yoruba people in the process of cultural recovery via dramatic literary writings and presentations. The playwrights should use their knowledge to spur the people into action, and foster through his writings the hope of a better future. The playwrights are not only responsible to their national culture, but to the nation as a whole, whose culture is, after all, but one aspect. This is also believed to be relevant in the fight against several social anomalies in the African community, thereby aiding the continent’s development
- Full Text: