Juryrapport Monica Arac De Nyeko
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Prizing African Literature: Awards and Cultural Value
Prizing African Literature: Awards and Cultural Value Doseline Wanjiru Kiguru Dissertation presented for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences, Stellenbosch University Supervisors: Dr. Daniel Roux and Dr. Mathilda Slabbert Department of English Studies Stellenbosch University March 2016 i Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained herein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Signature…………….………….. Copyright © 2016 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Dedication To Dr. Mutuma Ruteere iii Stellenbosch University https://scholar.sun.ac.za Abstract This study investigates the centrality of international literary awards in African literary production with an emphasis on the Caine Prize for African Writing (CP) and the Commonwealth Short Story Prize (CWSSP). It acknowledges that the production of cultural value in any kind of setting is not always just a social process, but it is also always politicised and leaning towards the prevailing social power. The prize-winning short stories are highly influenced or dependent on the material conditions of the stories’ production and consumption. The content is shaped by the prize, its requirements, rules, and regulations as well as the politics associated with the specific prize. As James English (2005) asserts, “[t]here is no evading the social and political freight of a global award at a time when global markets determine more and more the fate of local symbolic economies” (298). -
Introduction 1
Notes Introduction 1. Yvonne Owuor received the Caine Prize for African Writing in 2003; Monica Arac de Nyeko received the same prize in 2007. Margaret Ogola and Marjorie Oludhe Macgoye were awarded the Jomo Kenyatta Prize for Literature in 1995 and 2006, respectively. Other FEMRITE and Kwani Trust members have been shortlisted for the Caine Prize for African Writ- ing. For a complete list of literary awards received by FEMRITE members, see the organization’s website (<http://www.femriteug.org/?view=7/>). 2. The recent collaborations between Kenyan and Ugandan writers, and especially the contributions of Ugandan writers to the activities of Kwani Trust, revive historically earlier models, which, in the 1960s and 1970s, united East African universities, publishers, and literary magazines as part of the East African Community (Gikandi, “Introduction” 15). Of course, Gikandi and Mwangi’s encyclopedic survey of East African literature in English also emphasizes the regional character of Kenyan, Tanzanian, Ugandan, and, in this case, Somalian and Ethiopian, literatures. Given the concern of Ugandan and Kenyan women writers with historical events in Rwanda and the Congo, and especially the displacement of local popula- tions as a result of civil war and genocide, the geographical focus of my study further expands into the Great Lakes region of East-Central Africa. As I will explain in greater detail elsewhere in this introduction, the liter- ary journals of Kwani Trust and FEMRITE devote sustained attention to events in the Great Lakes region. A conference in October 2009 at the University of Witwatersrand on “Eastern African Literary and Intellec- tual Landscapes” also employed a comprehensive definition of the region when including papers on Somalia and Rwanda. -
“Healing a Hurting Heart”: FEMRITE's Use of Narrative and Community As
UCLA Ufahamu: A Journal of African Studies Title “Healing a Hurting Heart”: FEMRITE’s Use of Narrative and Community as Catalysts for Traumatic Healing Permalink https://escholarship.org/uc/item/3kh036hd Journal Ufahamu: A Journal of African Studies, 41(1) ISSN 0041-5715 Author Stratford, Candice Taylor Publication Date 2018 DOI 10.5070/F7411042302 Peer reviewed eScholarship.org Powered by the California Digital Library University of California “Healing a Hurting Heart”: FEMRITE’s Use of Narrative and Community as Catalysts for Traumatic Healing Candice Taylor Stratford Abstract In 1996, a group of notable Ugandan women writers created FEM- RITE, the Ugandan Women Writers Association. Over the last twenty years, it has become an essential element of Ugandan liter- ary society, the largest and most successful women’s writing group in East Africa, and one of the most influential literary communities on the African continent. Because of cultural and political violence in the region, a large proportion of FEMRITE’s writings reflect various forms of trauma. This calls for engagement with trauma theories. I argue that through strategies of narrative recuperation and the establishment of communities, FEMRITE has created ave- nues for women writers, their subjects, and their readers to engender healing from trauma. After discussing FEMRITE’s social programs, such as interviewing war refugees or AIDS victims, I analyze two texts by FEMRITE author Beatrice Lamwaka to demonstrate the manifestations of trauma in her stories and the ways they are nar- rated, as well as the way Lamwaka uses narrative and community to work through her own personal trauma. Through an analysis of its organizations and publications, I show that FEMRITE offers a uniquely optimistic and socially persuasive approach to trauma and healing. -
The Price of a Woman (Novel) and Bride Price and Literary Activism in Uganda (Critical Commentary) Felicity Atuki Turner, Phd Ca
The Price of a Woman (novel) and Bride Price and Literary Activism in Uganda (critical commentary) Felicity Atuki Turner, PhD candidate Goldsmiths University, London, April 2019 DECLARATION I Felicity Atuki Turner hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed Date: 22nd April 2019 2 Acknowledgements Heartfelt thanks go to my supervisors: Professor Blake Morrison for his guidance and support and for teaching me the art of writing; and Dr Kai Easton for helping me find the common thread through which my story could be told. Working with them was profoundly instructive and most inspiring. Warm thanks to my friends and colleagues for their encouragement and for the many discussions we’ve had on the phone, via email and over coffees - Dr Ravi Thiara, Professor Pippa Dell and Dr Maureen Owor. Thanks to Jackie Wacha, Evelyn Schiller and Patrick Ndira for their invaluable help in the early stages of the novel; To Dr Simon Ndira for encouraging me to think of a creative writing PhD as a route towards writing a novel; To Gromyko, fellow PhD candidate, to Donna, Beatrice and Patricia for their support. Special thanks go to my family: to my dear partner Glyn for his support throughout the years when I never stopped talking about doing a PhD and to my daughter June for putting up with my absences when she would rather I had been there to play with her; to the Okoth Ndira family: Dr Catherine Keko, Dr Jane Okoth (RIP), Dr Anthony Okoth, Fr. -
FEMRITE's Use of Narrative and Community As
“Healing a Hurting Heart”: FEMRITE’s Use of Narrative and Community as Catalysts for Traumatic Healing Candice Taylor Stratford Abstract In 1996, a group of notable Ugandan women writers created FEM- RITE, the Ugandan Women Writers Association. Over the last twenty years, it has become an essential element of Ugandan liter- ary society, the largest and most successful women’s writing group in East Africa, and one of the most influential literary communities on the African continent. Because of cultural and political violence in the region, a large proportion of FEMRITE’s writings reflect various forms of trauma. This calls for engagement with trauma theories. I argue that through strategies of narrative recuperation and the establishment of communities, FEMRITE has created ave- nues for women writers, their subjects, and their readers to engender healing from trauma. After discussing FEMRITE’s social programs, such as interviewing war refugees or AIDS victims, I analyze two texts by FEMRITE author Beatrice Lamwaka to demonstrate the manifestations of trauma in her stories and the ways they are nar- rated, as well as the way Lamwaka uses narrative and community to work through her own personal trauma. Through an analysis of its organizations and publications, I show that FEMRITE offers a uniquely optimistic and socially persuasive approach to trauma and healing. In 1996, a group of Makerere University English professors and students organized FEMRITE, the Ugandan Women Writers Association, to increase the number and visibility of women writ- ers in Uganda. In the last two decades, FEMRITE has become the largest and most successful women’s writing group in East Africa and one of the most influential literary communities on the African continent. -
Hilda Twongyeirwe Rutagonya on Femrite and Literary Activism in Uganda
Journal of Social Science for Policy Implications June 2014, Vol. 2, No. 2, pp. 283-293 ISSN: 2334-2900 (Print), 2334-2919 (Online) Copyright © The Author(s). 2014. All Rights Reserved. Published by American Research Institute for Policy Development “Men have been there for too Long, let’s have some Space”: Hilda Twongyeirwe Rutagonya on Femrite and Literary Activism in Uganda Folasade Hunsu1 Abstract The interview with Hilda TwongyeirweRutagonya focuses on the emergence of FEMRITE as a women’s literary movement. It talks about the association’s commitment to promoting women and women’s literature in Uganda. The interview gives an insight into the inner workings of the association and how it qualifies as a literary activist group which mobilizes against women’s minimization on the literary scene. Specific activities of FEMRITE such as writing workshops, public readings, book clubs, and reader/writer interactive forum among others are discussed, showing how they have been deployed to break men’s monopoly of the Ugandan literary scene.It highlights the importance of collective action to the overall goal of the association without overlooking the creative talent and vision of individual writer as it shows in the case of Rutagonya. By discussing her personal experience and writing, this interview foregrounds the influence of the group on an individual writer. Keywords: women’s literature, FEMRITE, Uganda Literary efforts of African women have been the focus of many scholarly inquiries in the past three decades. They show that women’s literature can no longer be ignored or simply taken as appendages to men’s. Notwithstanding this important shift in the reception of African women’s literature, an aspect that seems to be largely overlooked is how women have formally organized to change their societies through literature. -
Writing As Phantom Limb in Goretti Kyomuhendo's Fiction
Journal of International Women's Studies Volume 10 | Issue 4 Article 16 May-2009 Reporting from the Edge of Reality: Writing as Phantom Limb in Goretti Kyomuhendo’s Fiction Andrew H. Armstrong Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Armstrong, Andrew H. (2009). Reporting from the Edge of Reality: Writing as Phantom Limb in Goretti Kyomuhendo’s Fiction. Journal of International Women's Studies, 10(4), 259-275. Available at: http://vc.bridgew.edu/jiws/vol10/iss4/16 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2009 Journal of International Women’s Studies. Reporting from the Edge of Reality: Writing as Phantom Limb in Goretti Kyomuhendo’s Fiction By Andrew H. Armstrong1 Traumatism as an opening to the future of the wound is the promise of a text. Helene Cixous,Stigmata Literary criticism […] has a crucial role to play in furthering our understanding of how traumatic experience can be put into words and what kind of status such a narrative might have. Kathryn Robson, Writing Wounds: The Inscription of Trauma in Post- 1968 French Women’s Life-Writing Abstract In this paper I have explored the ways in which Ugandan writer Goretti Kyomuhendo writes of the effects of extreme violence in the African Great Lakes Region on female subjectivities by thematizing the dynamics of oppression and submission in postcolonial Africa. -
Program the Haiti Illumination Project
YARI YARI NTOASO CONTINUING THE DIALOGUE INTERNATIONAL CONFERENCE ON LITERATURE BY WOMEN OF AFRICAN ANCESTRY ● ACCRA, GHANA ● 2013 ● ORGANIZATION OF WOMEN WRITERS OF AFRICA ● NEW YORK UNIVERSITY MBAASEM FOUNDATION THE WOMEN FOR AFRICA FOUNDATION 2 YARI YARI NTOASO CONTINUING THE DIALOGUE Thursday, 16 May through Sunday, 19 May 2013 Sponsored by The Organization of Women Writers of Africa, Inc. New York University Institute of African American Affairs Hosted by Mbaasem Foundation Lead Partner Fundación Mujeres por África/The Women for Africa Foundation Supported by New York University Africa House New York University Accra New York University Africana Studies Program The Haiti Illumination Project Planning support provided by: The New York Council for the Humanities a state affiliate of the National Endowment for the Humanities Any views, findings, conclusions, or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities 3 CONFERENCE ORGANIZERS The Organization of Women Writers of Africa (OWWA) Founded in 1991 by African-American poet, performing artist, and activist Jayne Cortez and Ghanaian playwright and scholar Ama Ata Aidoo, the Organization of Women Writers of Africa, Inc. (OWWA) establishes connections between professional African women writers around the world. OWWA is a 501(c)(3) nonprofit literary organization concerned with the development and advancement of the literature of women writers from Africa and its Diaspora. OWWA is also a non-governmental organization associated with the United Nations Department of Public Information (UNDPI). www.owwainc.org and www.indiegogo.com/owwa - also on Facebook and Twitter #YariYari OWWA Co-Founders: Ama Ata Aidoo & Jayne Cortez Executive Board: J.e. -
African Women's Epistolary Narratives Suzanne Marie Ondrus the University of Connecticut, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 8-8-2014 Writing About Writing: African Women's Epistolary Narratives Suzanne Marie Ondrus The University of Connecticut, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Ondrus, Suzanne Marie, "Writing About Writing: African Women's Epistolary Narratives" (2014). Doctoral Dissertations. 493. https://opencommons.uconn.edu/dissertations/493 Writing About Writing: African Women’s Epistolary Narratives Suzanne Marie Ondrus, PhD University of Connecticut, [2014] This dissertation examines the following six Anglophone and Francophone African diasporic novels: So Long a Letter ( Une si longue lettre ) by Mariama Bâ (Senegalese), Juletane by Myriam Warner-Vieyra (fifty-year resident of Senegal, originally from Guadeloupe), Imagine This by Sade Adeniran (Nigerian living in the U.K.), Going Solo and To a Young Woman by Hope Keshubi (Ugandan), and Zenzele: A Letter for my Daughter by J. Nozipo Maraire (Zimbabwean living in the U.S.). This dissertation argues that the detailed characterization of the writing narrators cultivates intimacy, making these works worthy of serious literary consideration. Starting from book reviews’ emotional engagement with these texts, it points out literary techniques that create engagement with the writerly narrators. This study examines how the writing characters convey both intellectual and emotional intimacy through their writerly dispositions and their literary techniques such as similes, proverbs, metaphors, images, and literary allusions. H. Porter Abbott’s techniques of writing mimesis , Robyn Warhol’s work on intimacy with the second person address, Joe Bray’s epistolary techniques of representation of consciousness, and cognitive scientist Keith Oatley’s concept of literature as simulation contribute to technique analysis. -
Women's Literature in Kenya and Uganda
Women’s Literature in Kenya and Uganda Women’s Literature in Kenya and Uganda The Trouble with Modernity Marie Kruger WOMEN’S LITERATURE IN KENYA AND UGANDA Copyright © Marie Kruger, 2011. Softcover reprint of the hardcover 1st edtion 2011 978-0-230-10887-5 All rights reserved. First published in 2011 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-29174-8 ISBN 978-0-230-11641-2 (eBook) DOI 10.1057/9780230116412 Library of Congress Cataloging-in-Publication Data Krüger, Marie. Women’s literature in Kenya and Uganda: the trouble with modernity / Marie Kruger. p. cm. Includes index. 1. Kenyan literature—Women authors—History and criticism. 2. Ugandan literature—Women authors—History and criticism. 3. Women and literature—Africa. 4. Civilization, Modern, in literature. 5. Postcolonialism in literature. I. Title. PL8014.K4K78 2010 809'.892827—dc22 2010025785 A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: January 2011 For the Writers Ugandan women writers outside the FEMRITE office (November 2, 2002). -
FEMRITE's Use of Narrative and Community As Catalysts for Traumatic Healing
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2015-03-01 “Healing a Hurting Heart”: FEMRITE's Use of Narrative and Community as Catalysts for Traumatic Healing Candice Taylor Stratford Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Stratford, Candice Taylor, "“Healing a Hurting Heart”: FEMRITE's Use of Narrative and Community as Catalysts for Traumatic Healing" (2015). Theses and Dissertations. 4436. https://scholarsarchive.byu.edu/etd/4436 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “Healing a Hurting Heart”: FEMRITE’s Use of Narrative and Community as Catalysts for Traumatic Healing Candice Taylor Stratford A thesis submitted to the faculty of Brigham Young University In partial fulfillment of the requirements for the degree of Master of Arts Peter Leman, Chair Trent Hickman Leslie Hadfield Department of English Brigham Young University March 2015 Copyright © 2015 Candice Taylor Stratford All Rights Reserved ABSTRACT “Healing a Hurting Heart”: FEMRITE’s Use of Narrative and Community as Catalysts for Traumatic Healing Candice Taylor Stratford Department of English, BYU Master of Arts FEMRITE, the Ugandan Women Writers Association, was created in 1996, and over the last twenty years, it has become the largest and most successful women’s writing group in East Africa and one of the most influential literary communities on the African continent. -
Male Identity and Female Space in the Fiction of Ugandan Women Writers Abasi Kiyimba
Journal of International Women's Studies Volume 9 | Issue 3 Article 11 May-2008 Male Identity and Female Space in the Fiction of Ugandan Women Writers Abasi Kiyimba Follow this and additional works at: http://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Kiyimba, Abasi (2008). Male Identity and Female Space in the Fiction of Ugandan Women Writers. Journal of International Women's Studies, 9(3), 193-222. Available at: http://vc.bridgew.edu/jiws/vol9/iss3/11 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2008 Journal of International Women’s Studies. Male Identity and Female Space in the Fiction of Ugandan Women Writers By Abasi Kiyimba1 Abstract This article focuses on the voices of protest by Uganda women writers against age-old discriminative habits, and on the rebuttal made by women on questions of social and political power. The article particularly assesses the way women writers approach generally assumed positions on the power relations between men and women, a theme that runs through all the writing by Ugandan women. As part of the discussion, the paper inevitably pays particular attention to the presentation of male characters, and on the prominence given to issues of male dominance, injustice and discrimination against women, which take place at several levels of society.