Download African Literatures and Beyond: A Florilegium by Bernth Lindfors, Geoffrey V. Davis PDF

By Bernth Lindfors, Geoffrey V. Davis

This tribute assortment displays the wide variety and variety of James Gibbs's educational pursuits. the focal point is on Africa, yet comparative reports of different literatures additionally obtain awareness. Fiction, drama, and poetry by way of writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, eire, England, Germany, India, and the Caribbean are surveyed along major missionaries, scientists, performers, and students. The writers mentioned contain Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngũgĩ wa Thiong'o, Okot p'Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli-Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. different essays deal with the black presence in eire, nameless rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller within the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary pupil and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi also are incorporated. additionally provided are poems through Jack Mapanje and Kofi Anyidoho, brief tales via Charles R. Larson and Robert Fraser, performs by means of Femi Osofisan and Martin Banham, and an account of a dramatic examining of a script written and co-performed via James Gibbs. individuals: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive-Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann.

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1965]): 32–38. ——. Opera Wonyosi (Bloomington: Indiana U P , 1981). ——. The Road (London: Oxford U P , 1965). a The Enduring Relevance of Kobina Sekyi’s The Blinkards in Twenty-First-Century Ghana A WO M ANA A SIEDU They conclude that all things African are bad and all things European and American are good. 1 T by a thirteen-year-old in the early 1960s, capture the essence of Kobina Sekyi’s ideas as expressed in his play The Blinkards, the earliest Ghanaian play, written and first produced in 1916.

His long poem “The Sojourner” reveals his anglomania and finds expression in the play in lines given to Okadu, one of the characters: I speak English to soften my harsher native tongue, It matters not if often I speak the Fanti wrong. I’m learning to be British, and treat with due contempt The worship of the fetish, from which I am exempt. […] I’m clad in coat and trousers, with boots upon my feet; And atamfurafo and Hausas9 I seldom deign to greet; For I despise the native that wears the native dress – The badge that marks the bushman, who never will progress.

Nothing does from what we hear. So you want to know what cult, do you? I can ask your – pupil. He turns round to go back to his house. She won’t tell you. Take it from me. She won’t. (273– 74) In fact, Bero’s and the regime’s indiscriminate way of identifying subversives gives ample proof of the imprecision of their analytical tools. 27 The fixation on the material means of meaning-production exhibited in Bero’s overwhelming drive to include everything within his narrow ideological frame reminds one of the Professor’s intense ambition to reduce the metaphysics of the word to the graphology of the letter in Soyinka’s play The Road (1965).

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