DOCSLIB.ORG

Modern Nigerian Drama and Its Generation of Playwrights

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern Nigerian Drama and Its Generation of Playwrights Tropical Journal of Arts and Humanities 2(2), 8-17, 2020 ISSN: 2645-2529 (Print) 2645-2537 (Online) Available online at credencepressltd.com DOI: 10.47524/tjah.v2i2.8 Modern Nigerian drama and its generation of playwrights Alex Roy-Omoni Department of English and Literary Studies Delta State University, Abraka, Nigeria Email: [email protected] Abstract Many scholars have written on the beginning and development of modern Nigerian drama. This paper is an attempt to do same, with reference to the views expressed, divergent as they are, by these scholars, on the beginning and development of Nigerian drama from its inception to the present. These views are matched so that the forms of modern Nigerian drama and the different generations of Nigerian playwrights are re-visited, for proper documentation and reference. Key words: Modern, Generation, Nigerian Drama, Forms and Pioneering Efforts Introduction groups has produced innovative playwrights Different attempts have been made by and significant and innumerable works of scholars and critics to document Nigerian drama. In fact, in a broader perspective, drama from its inception to date. Notable Nigerian literature of which Nigerian drama among them are Oyin Ogunba‟s “Theatre in is a sub-genre, is now, according to Ezechi Africa”, an article in Presence Africaine Onyerionwu and Allwell Abalogu (55), the (1966), Joel Adedeji‟s 1966 Ph.D Thesis at hotbed of African literature, judging from its Ibadan titled “The Alarinjo Theatre: A Study qualitative and quantitative outputs. Abiola of Yoruba Theatrical Art Form from its Irele‟s corroboration of this statement is Earliest Beginning to the Present Time” and very relevant today. According to him, his article “Oral Tradition and the “literary creation is the one area of Contemporary Theatre in Nigeria” in contemporary endeavour and achievement in Research in African Literatures (1971). which Nigeria has an undisputed claim to Others are Yemi Ogunbiyi‟s edited Drama supremacy in Africa” (101). Irele‟s and Theatre in Nigeria (1981 & 2014), statement is still relevant today because the Biodun Jeyifo‟s The Yoruba Travelling plays published in Nigeria by Nigerian Theatre in Nigeria (1984), Chris Dunton‟s playwrights since 1990 to date are Make Man Talk True (1991), and Olu unprecedented. Obafemi‟s Contemporary Nigerian Theatre (1996) which Osita Okagbue describes as Modern Nigerian drama: Its beginning “the first comprehensive study of It will be difficult to take a statistics of the contemporary Nigerian theatre” (146). number of plays written between 1990 and However, an attempt is made here, to now, compared to the one taken by Bernth summarise all these writers‟ views as to the Lindfors in 1982 where he presents a table historical development of modern Nigerian of Nigerian plays published between 1952 drama from its inception to date. Nigeria as and 1967: an African nation with multifarious cultural 8 Alex Roy-Omoni: Modern Nigerian drama and its generation of playwrights Year Number of plays published 1952 0 1953 0 1954 0 1955 0 1956 4 1957 0 1958 0 1959 0 1960 0 1961 1 1962 1 1963 7 1964 6 1965 4 1966 3 1967 2_ 28 The above statistics shows that Shakespeare‟s Julius Caesar into Efik, his between 1952 and 1967 (16 years), only native language. twenty eight plays were published. The Henshaw‟s pioneering dramatic implication of the above is that modem upsurge was followed by Wole Soyinka‟s Nigerian drama (written Nigerian drama) debut in 1958. From then onward, started in 1956 with the publication of four playwrights and theatre scholars began to plays. Remi Ademola Adedokun (11) sprout and thrive in their diversified groups. informs us that the heritage of written drama Since 1958 when Wole Soyinka‟s The in Nigeria (modem Nigerian drama) Swamp Dwellers and The Lion and the ostensibly began in 1956 with the Jewel were produced, as Gerald Moore (78) publication of James Ene Henshaw‟s This Is makes us to understand, traces of African Our Chance. He reveals that James Ene oriented works of Nigerian playwrights Henshaw, a medical practitioner, was the started to appear, including J.P. Clark‟s first notable Nigerian playwright. This Is Song of a Goat, The Raft, Ozidi and The Our Chance was followed subsequently by Masquerade. The creativity of the Ibadan Medicine for Love (1961), Children of the School of Drama as well as the Goddess (1964), Dinner for Promotion encouragement derived from the attainment (1965) and Jewels of the Shrine (1965) all of political independence in 1960, promoted by Henshaw. His other plays include A Man more seriousness and productivity in of Character, Companion for a Chief and writing, leading to increased fame for Enough Is Enough. At the time of modem Nigerian drama. Since it would be Henshaw‟s demise on August 16, 2007, he difficult to enumerate all the Nigerian had just finished translating William playwrights since 1956 to date, it is better to Tropical Journal of Arts and Humanities, Volume 2, Number 2, 2020 9 Alex Roy-Omoni: Modern Nigerian drama and its generation of playwrights look at modem Nigerian drama from the preceded modem Nigeria drama will suffice point of view of its generation of writers and because of their basic influence on modem their thematic concerns. Nigerian drama as already pointed out. As Adedokun reveals, “Alarinjo” theatre is a Pioneering efforts Yoruba traditional theatre which evolved Despite the above insight into the beginning from the masquerade cult. Masking, of modem Nigerian drama, its historical chanting, dancing and drumming are basic excursion would be incomplete without elements of this theatre. “Alarinjo” theatre, taking a backward glance to its predecessor. Adedokun further reveals, grew from a One basic reason for this is that the thematic religious motive of ancestral worship to the concerns of Nigerian playwrights from 1956 secular court entertainment. The word can easily be traced to the dramatic events “Alarinjo”, he says, is a derivative before the inception. Most of these events appellation meaning „common itinerant were in the oral traditions of the towns and dancer” and it is an equivalence of the villages where these playwrights come from “Travelling Theatre” of Ogunde and his and from where they borrowed their themes colleagues, though they are not the same in which they incorporate into their plays. form, style and content. Joel Adedeji‟s What this means is that in preliterate “„Alarinjo‟: The Traditional Yoruba Nigeria, there were festivals, rituals and Travelling Theatre” is a good reference other traditional performances and which point. According to him, the Alarinjo Nigerian playwrights had to incorporate into theatres first emerged from the dramatic their works. This is why, in his theory of roots of the Egungun (masquerade) in evolutionism in drama, Clark traces the ancestor worship and was first performed on origin of Nigerian drama to the tribal myths, Wednesday, February 22, 1826 in the palace rituals and lore. He asserts that: of the Alaafin of Qyo (27). Biodun Jeyifo‟s We believe that, as the roots of book, The Yoruba Popular Travelling the European drama go back to Theatre of Nigeria is also a good reference the Egyptian Osiris and the point. Greek Dionysius, so are the In their (Adedeji, Adedokun and origins of Nigerian drama Jeyifo) submissions, apart from the richness likely to be found in the early of the “Alarinjo” theatre in cultural content, religious and magical versatility of its artists in music, dance, ceremonies and festivals of the folklore and spectacle, the fact is also there people of this century. (56) that the Alarinjo theatre which predated the 1946 emergence of modem Yoruba Prior to the founding of the Travelling Theatre of Hubert Ogunde, had University College, Ibadan and its an imperishable tradition upon which the associated theatrical and dramatic activities, modem travelling theatre heavily relied for and dating from the pre-colonial times, continuity; and from which the literary numerous performances had provided theatre could leave an eclectic taste. After theatrical atmosphere in Nigeria. These the era of Alarinjo, Yoruba travelling ranged from the traditional African theatre, which Darah (5) prefers to call performance genres like the masquerade, “Itinerant Theatre” came on board. The ritual displays, festivals, storytelling, dance, leader of the park was Hubert Ogunde who music, etc. It was at this time that “Alarinjo” formed his first opera group: African theatre thrived. Research Music Party in 1944, four years A peep into this “Alarinjo” theatre before the establishment of the University and then folk theatre which of course College Ibadan. It will be recalled that J.P. Tropical Journal of Arts and Humanities, Volume 2, Number 2, 2020 10 Alex Roy-Omoni: Modern Nigerian drama and its generation of playwrights Clark in his classification of Nigerian pamphlets of the literature appeared in drama, prefers to group this folk theatre of Onitsha in 1947. Obiechina explains the Ogunde and others as part of modem important position of Onitsha Market Nigerian drama. Darah, Jeyifo and others Literature in the beginnings of literary have written much on folk theatre in drama in Nigeria. Onoriose would rather Nigeria. Apart from Hubert Ogunde, often prefer to classify all literatures produced referred to as the doyen of Nigerian drama, during this period as popular literature others are Duro Ladipo, Moses Olaiya ( The which he says “marks the commencement of founder of The Alawada Theatre), Oyin Nigeria‟s endeavour at literary creativity in Adejobi, Kola Ogunmola, Isola Ogunsola ( the English Language” (86). Referring to the also known as I Show Pepper), Lere Paimo, literature at Onitsha, Donatus Nwoga posits Ade Love, to mention a few. While listing that locally published pamphlet novels and one hundred and fifteen different groups in plays commonly called Nigerian this category, Jeyifo reveals that it is Chapbooks, began to appear in 1947 in virtually impossible to obtain the accurate market bookstalls (26).
Load more

Recommended publications
  • CHILDHOOD in CONTEMPORARY NIGERIAN FICTION Christopher
    CHILDHOOD IN CONTEMPORARY NIGERIAN FICTION Christopher Ernest Werimo Ouma A thesis submitted to the Faculty of Humanities and Social Sciences, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of doctor of philosophy. July, 2011 i DECLARATION I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy, at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination at any other university. -------------------------------------------- Christopher Ernest Werimo Ouma -------- DAY OF------------------ 2011 ii DEDICATION To those who fell on the way, E.O and J.O, as well as my fallen colleague and friend Kimathi Emmanuel Chabari, R.I.P. iii ACKNOWLEDGEMENTS I thought writing this would be easy, but I realise now that it requires me to take a trip down memory lane for five years. This journey started when I arrived in Johannesburg in 2006 for my M.A. The tricky thing though is that time accumulates debts of gratitude as one traverses different places, spaces and meets different people. Therefore, I should say that the few pages allotted for acknowledging the contributions of many people in this activity can never be enough. Nonetheless, as Ben Okri says, “there are many destinies” and that if we fail to keep that appointed hour with one destiny, we are bound to fulfill the next. In this spirit therefore, I hope that this activity is a gesture to our shared yet different “destinies,” and that this appointed hour is not the only one.
    [Show full text]
  • Contemporary Nigerian Fiction and the Return to the Recent Past
    BEARING WITNESS TO AN ERA: CONTEMPORARY NIGERIAN FICTION AND THE RETURN TO THE RECENT PAST Juliet Tenshak Thesis submitted for the degree of PhD in English Studies School of Arts and Humanities, University of Stirling. December 2017. Acknowledgements The Ph.D journey has been long, very challenging but rewarding. On this journey, I got fresh and startling insights to the meaning of the word „Help‟. I made it to this point because of the help I have received from so many people in various ways, and at different times. I am humbled. My first expression of gratitude goes to my supervisor Professor David Murphy, whose support, PATIENCE, and encouragement is in large part the reason I made it this far. I would also like to thank my second supervisor Dr. Gemma Robinson who has been unfailingly supportive and encouraging. I am also grateful to the school administrator Alison Scott for the support I received from her in the course of my study. I owe a debt of gratitude to the British Federation of Women Graduates, who provided much-needed financial support for the final year of my Ph.D. To my husband Fidel Odhiambo Wayara, you are my exceedingly great reward. Thank you for loving and pushing. To my girls; Walsham, Naannaa and Kiyenret, thank you for putting up with my absence. Thank you for making motherhood a thing of joy and fulfillment for me, and thank you for the sacrifices you individually and collectively made for me to do this. I love you girls more than the whole world and back! To my mother Dr.
    [Show full text]
  • The Domestication of the English Language for Literary Purpose in Nigeria: Creating a National Identity
    International Journal of Social Science and Humanity, Vol. 2, No. 6, November 2012 The Domestication of the English Language for Literary Purpose in Nigeria: Creating a National Identity Dare Owolabi amaze native speakers. It is a well-known fact that many Abstract—Nigeria is, obviously, one of the largest ESL users Nigerian writers have received accolades globally on in the world. The language that first came with the colonial account of their literary prowess in the English language masters as a foreign language has since grown in leaps and medium. For example Nigerian born Wole Soyinka, is the bounds to now become a second language and, unarguably, the country’s official language. As the largest black nation in the first African Nobel Laureate in literature. With the world, Nigeria, using English as the official language, has attainment of this status, it is high time true recognition be affected the language in a way that has created a Nigerian accorded the emerging variety of English in Nigeria, which identity that is fast becoming a variety of English as an has been successfully domesticated, by the way the international language. This variety of English, which I refer to language has been and is still being ‘home-grown…adapted as Niglish has international intelligibility, having been used by Nigerian writers to win international awards. This study and tamed to suit the Nigerian environment’ (Adegbija, examines how the English language has been nativized in the 2004). Dynamism is one of the characteristics of any living Nigerian environment for literary purpose, using selected language, and the different varieties of English emerging works from recent literary artists in Nigeria and by Nigerians.
    [Show full text]
  • The Evolution of Feminism in Nigerian Media: a Look at Igbo Culture Films
    THE EVOLUTION OF FEMINISM IN NIGERIAN MEDIA: A LOOK AT IGBO CULTURE FILMS A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts in Media Studies University of Regina By Joy Adanna Emelogu Regina, Saskatchewan January 2019 Copyright 2019: J. A. Emelogu UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Joy Adanna Emelogu, candidate for the degree of Master of Arts in Media Studies, has presented a thesis titled, The Evolution of Feminism in Nigerian Media: A Look at IGBO Culture Films, in an oral examination held on December 19, 2018. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Claire Carter, Department of Women’s and Gender Studies Supervisor: Dr. Sheila Petty, Department of Film Committee Member: Dr. Christine Ramsay, Department of Film Committee Member: Dr. Darlene Juschka, Department of Women’s & Gender Studies Chair of Defense: Dr. Philip Charrier, Department of History Abstract This thesis addresses the subject of feminism in the Nigerian media, particularly on how issues related to women’s rights and gender discrimination have been addressed in Igbo culture Nigerian films. For several decades, the Nigerian home video industry, dominated by Igbo culture-themed films, has been one of the most influential media forms across Nigeria and Africa in general. These films are a staple in many homes; the images, narratives, and ideas that they disseminate go a long way in shaping or reinforcing public perceptions about the role of women and their status in society.
    [Show full text]
  • The Place of Translation in Nigerian Cultural Diplomacy and Its Impact on Translation Exchanges Sylvia I
    Document generated on 09/24/2021 12:44 p.m. TTR Traduction, terminologie, rédaction The Place of Translation in Nigerian Cultural Diplomacy and its Impact on Translation Exchanges Sylvia I. C. Madueke Traduction et politique(s) Article abstract Translation, Politics and Policies This paper focuses on the translation of Nigerian literature into French from Volume 32, Number 1, 1er semestre 2019 the perspective of cultural diplomacy and as a cultural product (Flotow, 2007; Córdoba Serrano, 2013). It reviews Nigerian cultural diplomacy initiatives to URI: https://id.erudit.org/iderudit/1068015ar determine if translation is highlighted as part of cultural export and as a means DOI: https://doi.org/10.7202/1068015ar through which the Nigerian image and culture are promoted. Even though translation exchanges are not promoted by the Nigerian government, there is a field of translation of Nigerian texts into French. Data from a list of Nigerian See table of contents novels translated into French between 1953 and 2017 provide contextual and historical information on the circulation of translations as well as on the works that are selected for translation into French. Publisher(s) Association canadienne de traductologie ISSN 0835-8443 (print) 1708-2188 (digital) Explore this journal Cite this article Madueke, S. I. C. (2019). The Place of Translation in Nigerian Cultural Diplomacy and its Impact on Translation Exchanges. TTR, 32(1), 81–112. https://doi.org/10.7202/1068015ar Tous droits réservés © Sylvia I. C. Madueke, 2020 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • Power and Powerlessness of Women in West African Orality
    UMEÅ PAPERS IN ENGLISH No. 15 Power and Powerlessness of Women in West African Orality edited by Raoul Granqvist & Nnadozie Inyama Umeå 1992 Raoul Granqvist & Nnadozie Inyama (eds.) Power and Powerlessness of Women in West African Orality UMEÅ PAPERS IN ENGLISH i No. 15 Power and Powerlessness of Women in West African Orality edited by Raoul Granqvist & Nnadozie Inyama Umeå 1992 Umeå Papers in English Printed in Sweden by the Printing Office of Umeå University Umeå 1992 ISSN 0280-5391 Table of Contents Raoul Granqvist and Nnadozie Inyama: Introduction Chukwuma Azuonye: Power, Marginality and Womanbeing i n Igbo Oral Narratives Christine N. Ohale: Women in Igbo Satirical Song Afam N. Ebeogu: Feminist Temperament in Igbo Birth Songs Ambrose A. Monye: Women in Nigerian Folklore: Panegyric and Satirical Poems on Women in Anicha Igbo Oral Poetry N. Chidi Okonkwo: Maker and Destroyer: Woman in Aetiological Tales Damian U. Opata: Igbo A ttitude to Women: A Study of a Prove rb Nnadozie Inyama: The "Rebe l Girl" in West African Liter ature: Variations On a Folklore Theme About the writers iii Introduction The idea of a book of essays on West African women's oral literature was first mooted at the Chinua Achebe symposium in February 1990, at Nsukka, Nigeria. Many of the papers dwelt on the image and role of women in contemporary African literature with, of course, particular attention to their inscriptions in Achebe's fiction. We felt, however, that the images of women as they have been presented by both African men and women writers and critics would benefit from being complement­ ed, fragmented and tested and that a useful, albeit complex, site for this inquiry could be West African oral representations of the female.
    [Show full text]
  • Translating and Publishing Nigerian Literature in France (1953-2017) a Study of Selected Writers
    Translating and Publishing Nigerian Literature in France (1953-2017) A Study of Selected Writers by Sylvia Ijeoma C. Madueke A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in FRENCH LANGUAGES, LITERATURES AND LINGUISTICS Modern Languages and Cultural Studies University of Alberta © Sylvia Ijeoma C. Madueke, 2018 ii Abstract This project focuses on the history and process of translating and publishing selected Anglophone Nigerian novels into French, with a special focus on elements of hybridity. The corpus consists of novels written by canonical and non-canonical, male and female Nigerian authors in the years after the country’s independence in 1960. The thesis draws on multiple yet complementary translation methodologies. The polysystem theory (PST) is used to characterize the source literary system and how certain home factors may reflect on the selection of works for translation. The polysystem is also useful to position Nigerian literature within the French literary system. André Lefevere’s methodology is used to identify the agents involved in the translation of the novels and examine power relationships at play. Antoine Berman’s approaches allow for a study of the French translators’ roles and a microanalysis of hybridity. Interviews, questionnaires, email and oral exchanges provide first-hand information and complement previous approaches. A qualitative analysis of data gathered in this study was performed in order to illustrate the various trends within the corpus of Nigerian literary works translated in French. This corpus forms an online database, NILIFT, which will be useful for future research.
    [Show full text]
  • Language and Literature As Instruments of Change: the Nigerian Experience
    Language and Literature as Instruments of Change: The Nigerian Experience. Olarewaju Omoniwa Department of English Federal College of Education, Zaria Abstract This paper presents language and literature as potent instruments of change, which are inextricably tied to the social, cultural and political fortunes of Nigeria. Language is perceived in various dimensions – language use in interpersonal discourse, official functions and language as the vehicle for literary intuition and creativity. Nigerian literary arts effectively mirror the people’s life and serve utilitarian functions. The paper shows that the instruments of language and literature can be effectively deployed to conscientize the populace, restore peace and harmony among them and mobilize them for transformation to achieve all- round national development. Evidence of language use in official communication and literary arts by selected Nigerian writers is provided to underline the unique importance of the said instruments in society. Introduction A common axiom states that nothing indeed is permanent in life except change itself: Change is a variegated, all-encompassing term: change in individuals, change in mentality, change in lifestyle, change in value system, change in leadership style, change in social, economic and political policies, change in ideology etc. Some of the questions that arise may include: Is change really desirable? What change is most desirable in the context of the Nigerian nation? What should be the direction of the change? Should the change be partial or total? Who should initiate or advocate for change? How would change be effected? How do we cope with change? What are the expected results or repercussions of change? We shall endeavour to provide answers to these questions in the context of language and literary studies and the Nigerian society in which language users and literary writers operate.
    [Show full text]
  • Nigerian Films.Pdf
    1 REPRESENTATIONS OF CULTURAL RESILIENCE AND PERCEPTIONS OF RELIGIOSITY IN NIGERIAN MOVIES AND THE CRISIS OF PERSONAL IDENTITY AMONG NIGERIAN ADOLESCENTS Anthony M. Ozele New York, USA Abstract Nigerian films have become extremely popular with Africans especially Nigerians abroad and a growing number of people of African descent, and have become ready substitutes for Western productions. Through these movies Africans are experiencing a cultural connect worldwide, something which foreign movies cannot provide. This paper examines Nigerian movies as an index of the cultures and religiosity of the people and how they factor into the personality development of adolescents who are exposed to stressful situational and life events which impact on behavior. In a post-modern world, reality has become fluid, and no medium has done more to make it so than film, with its wide accessibility, its sense-and-psyche altering format, and its effortless ability for persuasion. In Sub-Saharan Africa, the Nigeria entertainment media have been leading a cultural shift from historical and written facts to visual images, seizing on the conception that it is easier to educate people by enticing images than by persuasive words. Nigeria movies are very popular among adolescents and youths, and are gradually gaining wide acceptance among blacks across the world because of their socio-cultural and educational values. From available anthropological and ethnological data the African traditional worldview is characterized by dynamic vitalism, relationality, communion, solidarity, and harmony with nature (Onwubiko 1991, p. 3-5). African scholars such as Mbiti, Nyasani, Nyamiti, Oduyoye, Okure, Onwubiko, amongst others reason that there are categories and processes of thought that are unique to Africa.
    [Show full text]
  • Zulfiqar Chaudhry, Sadia (2014) African Women Writers and the Politics of Gender
    Zulfiqar Chaudhry, Sadia (2014) African women writers and the politics of gender. PhD thesis. http://theses.gla.ac.uk/5202/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] African Women Writers and the Politics of Gender Sadia Zulfiqar Chaudhry Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy English Literature School of Critical Studies College of Arts University of Glasgow December 2013 Sadia Zulfiqar 2013 ii Abstract This thesis examines the work of a group of African women writers who have emerged over the last forty years. While figures such as Chinua Achebe, Ben Okri and Wole Soyinka are likely to be the chief focus of discussions of African writing, female authors have been at the forefront of fictional interrogations of identity formation and history. In the work of authors such as Mariama Bâ (Senegal), Buchi Emecheta (Nigeria), Chimamanda Ngozi Adichie (Nigeria), Tsitsi Dangarembga (Zimbabwe), and Leila Aboulela (Sudan), there is a clear attempt to subvert the tradition of male writing where the female characters are often relegated to the margins of the culture, and confined to the domestic, private sphere.
    [Show full text]
  • Nigerian Literature in English: the Journey So Far? Taye Awoyemi-Arayela Phd
    International Journal of Humanities and Social Science Invention ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org Volume 2 Issue 1 ǁ January. 2013ǁ PP.29-36 Nigerian Literature In English: The Journey So Far? Taye Awoyemi-Arayela Phd Department Of English College Of Humanities Redeemer’s University, Mowe. ABSTRACT: Literature is a major art form through which people can exhibit their culture. Generally, prior to 1800, literature in the European languages meant any writing or book knowledge (Culler 21). In the modern Western sense, it means an imaginative writing; indeed, it can be said to be language decontextualized, a speech act or textual event that elicits certain kinds of attention (Culler 25, 27). It is a product of conventions and a vehicle of ideology. Nigerian Literature in English (NLE) has witnessed an impressive expansion in the more than five decades of its existence. When one considers the award of the Nobel Prize for Literature to Professor Wole Soyinka in 1986, one sees that it is evident of the extent to which this genre of literature has become globally accepted in spite of the fact that it is less than one century ago since this genre of literature came to be. This paper therefore uses a historicist approach to examine the genre known as Nigerian Literature in English. This is done largely through a study of selected literary texts and by noting how history has helped in fashioning out this genre of literature. The paper notes the sociological and cultural tilt involved in the emergence of the genre, acknowledging the works of the founding fathers, and all those, who like Demola Dasylva, have paid the price in the process of its critical advancement.
    [Show full text]
  • Class Stratification and Poverty in Nigerian Literature: a Study of Chinua Achebe's Things Fall Apart and Festus Iyayi's
    Annals of Language and Literature Volume 2, Issue 2, 2018, PP 26-35 Class Stratification and Poverty in Nigerian Literature: A Study of Chinua Achebe’s Things Fall Apart and Festus Iyayi’s Violence Adegbite O. Tobalase Department of Languages & Literary Studies, Faculty of Arts, Adeleke University, Ede *Corresponding Author: Adegbite O. Tobalase, Department of Languages & Literary Studies, Faculty of Arts, Adeleke University, Ede ABSTRACT The concepts of class stratification and poverty are not new in any society especially the African society. Many Africans presently live below the poverty line and this is further exacerbated by high level class inequality. Right from the creation of man, there has been class while poverty gradually crept into the society as the supply of the people was not meeting their demands, thus only those who have what it takes were able to survive and stay above-board. There is the classification between good and evil, male and female, white and black, poor and rich, influential and non-influential, educated and uneducated and so on. The class stratification being looked at in this research however has to do with the bourgeoisie and the proletariat and how this has contributed to the advancement of poverty in society. The two Nigerian novels purposively selected are Chinua Achebe’s Things Fall Apart and Festus Iyayi’s Violence. The choice of these texts is due to the fact that they belong to different generations of Nigerian writings, thus we considered the views of the two generations on the subjects of discourse. The method of investigation adopted is the critical textual analysis using the Marxist literary theory.
    [Show full text]