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A COMPARATIVE EXAMINATION OF NARRATIVE VOICE IN DIEKOYE OYEYINKA’S STILLBORN AND AHMADOU KOUROUMA’S ALLAH IS NOT OBLIGED By MEMORY HANKWA A dissertation submitted to the University of Zambia in partial fulfilment of the requirements for the award of the degree of Master of Arts in Literature THE UNIVERSITY OF ZAMBIA LUSAKA 2019 COPYRIGHT All rights reserved. No part of this dissertation may be reproduced or stored in any retrieval system, transmitted in any form or by any means without prior permission in writing from the author or the University of Zambia. © Copyright 2019 i DECLARATION I, Memory Hankwa, do declare that this work is my own and has not previously been researched and submitted for any qualification at the University of Zambia or any other University. Signed. …………………………… Date.……………………….... ii APPROVAL This dissertation of Memory Hankwa has been approved as fulfilling the partial requirements of the award of the degree of Master of Arts in Literature by University of Zambia. Examiner 1 ……………………………………………………………….. Signature………………………………………………………………….. Date……………………………………………………………………….. Examiner 2…………………………………................................................ Signature…………………………………………………………………… Date………………………………………………….................................... Examiner 3………………………………….................................................. Signature…………………………………………………………………….. Date………………………………………………………………………….. Chairperson Board of Examiners…………………………………………….. Signature……………………………………………………………………… Date……………………………………………………………………………. Supervisor……………………………………………………………………… Signature………………………………………………...................................... Date…………………………………………………………………………….. iii DEDICATION I dedicate this work to my family, especially my nieces and nephews. You motivate me to work hard. I am forever grateful for your love and support. iv ABSTRACT Narratologists concede that every narrative has an agency who conveys the story. This is the speaker that recounts events as one listens to the story. Voice is an integral aspect in narrative analysis. The study aimed at analysing the similarities and differences in the use of narrative voice in the novels Stillborn and Allah Is Not Obliged. These were evaluated in order to establish their significance to the narrative system of the two texts. The qualitative approach was utilised and the study was a desk research. The primary texts were purposefully sampled as they are both historical fictional works told by narrators who portray how political turmoil such as war in their respective societies wounds their psyche. A close comparative reading of the two text was conducted. Secondary data from articles, journals, books and electronic sources were examined mainly using the theory of narratology buttressed by the psychoanalytical literary theory. Findings were that in both texts, the narration is done retrospectively by several homodiegetic voices but Seun, a peripheral character is more audible in Stillborn whereas Allah Is Not Obliged is dominantly told by an autodiegetic narrator Birahima. Retrospective narrations are important as they enable the narrators to reflect on past events and examine their inner thoughts before narrating. Homodiegetic narrators are believable since they recount what they witness to a certain degree. The peripheral homodiegetic narrator exhibits sympathy towards the protagonists while the autodiegetic narrator recounts with depth as a victim of war, revealing his damaged psyche more than the observing narrator. Narrative embedding though more extensive in Stillborn is a vital artistic strategy used to develop themes, characterisation, create diversity, suspense and harmony in both texts. The functions of the narrator according to Genette’s (1980) model are all carried out by the overarching narrators. It is mainly through Seun’s and Birahima’s perspective that the tales are narrated. In directing the story, Birahima often pauses the story and time while Seun recounts continually. This demonstrates how varyingly narrators can manipulate the narrative’s flow. Through the communicative function, they confess their repressed emotional wounds and desires to the narratee. Their childhood experiences play a pivotal role in shaping the narratives. They also attest to what they recount but Birahima authenticates his account further by swearing. Testifying renders the narrators believable to the narratee. Political mayhems, ethnic and religious conflict are condemned through ideas the narrators communicate. This is essential to the development of themes. That both narrators are also narratees contributes to the construction of the matrix narratives since they graft the received tales to them. Key words: Narratology, narrative voice, significance, homodiegetic. v ACKNOWLEDGEMENTS My sincere appreciation goes my supervisor Dr Chilala Cheela, for rendering constant supervision, mentoring and literary inspiration to me as I worked on this dissertation and throughout the time I studied at the University. I would also like thank Dr Mutunda Sylvester, Dr Crehan Stewart and Dr Jimaima Hambaba for their support and encouragement during the time of my study. A special word of appreciation goes to my family for their love and spiritual and emotional support. I am grateful to all my siblings and my brother in-law Pastor Siachibila Johan for raising me. Although various members of the extended family are not named, I appreciate them for encouraging me not to quit but to run the race up to the finish line. They were physically there for me especially during tempestuous times. God bless them individually and collectively. I am thankful to my friend Edmond Chilando Mwiche, colleagues George Mulenga Cecilia Tembo, Precious Cheelo Hambalangwe, Precious Kabinga Mbewe, Nichol Phiri Mulolani, Aguire Hachimbi, Zimba Naomy, Nachibinga Biggie, Muzambalika Steady, Webson Moonga and all who shared opinions and for their involvement in making this research project come to fruition. Above all, I thank God Almighty for guiding and giving me strength during the time I worked on the dissertation. vi TABLE OF CONTENTS COPYRIGHT ................................................................................................................... i DECLARATION ............................................................................................................. ii APPROVAL ................................................................................................................... iii DEDICATION ................................................................................................................ iv ABSTRACT ......................................................................................................................v ACKNOWLEDGEMENTS ........................................................................................... vi TABLE OF CONTENTS……………………………………………………………..vii OPERATIONAL DEFINITION OF TERMS ...............................................................x CHAPTER ONE: INTRODUCTION ...........................................................................1 1.1 Overview ......................................................................................................................1 1.2 Background of the Study ..............................................................................................1 1.2.1 The origin and development of Narratology .............................................................3 1.3 Statement of the Problem.. ...........................................................................................8 1.4 Purpose of the Study ....................................................................................................9 1.5 Objectives of the Study ................................................................................................9 1.6 Research Questions ....................................................................................................10 1.7 Significance of the Study ...........................................................................................10 1.8 Theoretical Framework ..............................................................................................11 1.8.1 The Theory of Narratology .....................................................................................11 1.8.2 Psychoanalytical Literary Theory ...........................................................................11 1.9 Delimitation of the Study ...........................................................................................12 1.10 Methodology ............................................................................................................12 1.11 Structure of the dissertation .....................................................................................13 1.12 Summary of chapter .................................................................................................13 CHAPTER TWO: REVIEW OF RELATED LITERATURE ..................................14 2.1 Overview ....................................................................................................................14 2.2 The Concept of Narrative Voice ................................................................................14 2.3 Types of Narrative Voice ...........................................................................................16 2.3.1 First Person Narrative Voice (Homodiegetic).........................................................17 vii 2.3.2 Third Person Narrator (Heterodiegetic)

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