DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Arm Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 AFRICAN WOMEN WRITERS AND THE STRUGGLE FOR EMANCIPATION: IMAGE AND REALITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Beatrice M. Mulala, M.Ed ***** The Ohio State University 1999 Dissertation Committee: Approved by Professor Karlis Racevskis, Adviser Professor John Conteh-Morgan Adviser Professor Marie-Paule Ha Department of French and Italian UMI Number: 9931657 UMI Microform 9931657 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT African women have been studied by many scholars and from many different perspectives, but very few of these studies have been done by African women themselves, due to economic and other constraints. The representation by outsiders as well as by African men has been blamed for perpetuating an image of African women that does not correspond to who they really are. The only way to correct this image is for African women to speak for themselves. If research has been accessible to only a few of them, the writing of fiction has given many more an opportunity to express themselves, beginning in the 1960s when women entered the literary scene. The study is undertaken on the premise that an examination of fictional writing by Afirican women can contribute to a better understanding of their condition and aspirations. The notion of situated knowledges is used to validate self-representation by women and to show why they are able to write more realistically about themselves. The notion of habitus is used to by-pass the difBculty inherent in any discussion of reality, since the habitus is shaped by reality as it is experienced in everyday life. Writing is considered emancipatory if it addresses the changing conditions of the material and social environment to reveal possibilities for a change of habitus, or if it exposes the mechanisms that perpetuate the oppression of Afiican women through the production of a compliant habitus. ii Even though many cultural differences exist among African women, researchers have seen patterns emerging in their condition under neocolonialism that allow for certain generalizations. The study examines fiction by francophone writers from Cameroon and anglophone ones from Kenya, countries with different colonial histories and from opposite ends of the continent, to see whether these patterns emerge in literature as well, and how women are negotiating their lives within the changing societies. A life cycle approach to women’s lives is used to organize the study of the texts, which are discussed under the categories of adolescence, marriage, motherhood, women and work, and woman’s body and sexuality. An examination of the various stages of a woman’s life as portrayed by the writers reveals how a woman’s habitus is shaped throughout her life. The works considered range from the early ones published in the 1960s to recent ones published in the 1990s. The generation of the writers is taken into account when assessing their representation of women. What emerges is that while the authors strive to give realistic representations of aspects of women’s lives, not all of them challenge the status quo or propose strategies for change. In order for an author to produce writing that can contribute to the emancipation of women, she has to write self-consciously to avoid falling into the traps of her own habitus with its internalized dispositions. Knowledge of feminist theory can help reveal the discrirnination against women that is embedded in customary norms, modem law and social conventions. The question of canonization is also raised: in order for works by women to contribute to social change, they have to be read by a wide audience. Unfortunately, few women writers have found a place in the canon of African literature. m TO THE MEMORY OF MWAITU IV ACKNOWLEDGMENTS I wish to thank my adviser. Professor Karlis Racevskis, for intellectual support and for the timely manner in which he read and gave me feedback on my work. His detailed corrections made revisions much easier. My thanks also go to Professors John Conteh-Morgan and Marie-Paul Ha for taking the time to read and comment on individual chapters as I finished them. Their suggestions broadened my outlook on many issues. I know that my family was remembering me in their prayers everyday, and I thank them all for their love and support. To my son Mulatya, a very special thank-you for his cheerful presence in my life, for helping me keep things in perspective when I felt overwhelmed, and for continuing to grow and flourish in spite of my divided attention. VITA May 5, 1948 ............................................ Bom - Machakos, Kenya June 1970 ................................................ Certificat Pratique de Langue Française & Diplôme d’Etudes Françaises, Université de Madagascar June 1973 ................................................ Licence ès Lettres de Français Appliqué, Université de Besançon, France July 1973- July 1977.................................High School French Teacher, Limuru Girls’ School & Machakos Boys’ School, Kenya Aug 1977- July 1983 ............................... Tutorial Fellow in French, Kenyatta University, Kenya Dec 1981..................................................Master of Education, University of Nairobi, Kenya Aug 1983- Aug 1991...............................Lecturer in French, Kenyatta University Sept 1991-June 1996.............................. Graduate Teaching Associate, Dept o f French and Itahan, OSU Jan 1997-Mayl997................................. Lecturer in French, Ohio Dominican College, Columbus, Ohio Sept 1996-June 1999............................... Lecturer in French, Dept of French and Italian, OSU FIELD OF STUDY Major Field: French and Italian VI TABLE OF CONTENTS Abstract .................................................................................................................................... ii Dedication................................................................................................................................iv Acknowledgment...................................................................................................................... v V ita...........................................................................................................................................vi Chapter 1: Introduction ............................................................................................................1 Chapter 2; Cameroonian Women Writers ........................................................................... 35 Chapter 3 : Kenyan Women W riters ..................................................................................... 84 Chapter 4; Two Male Writers; Mongo Beti and Ngugi wa Thiong’o .............................. 135 Chapter 5: Conclusion ..........................................................................................................185 Bibliography ......................................................................................................................... 203 vu CHAPTER 1 INTRODUCTION Studies on African women African women have been studied by many scholars and from many different perspectives. Descriptions of the economic, political and cultural activities of African women during the colonial period can be found mainly in ethnographies. However, "ethnographers were generally men, talking through male interpreters to male informants, about men's affairs. Rarely did an ethnography look specifically at women" (O'Barr, p. 14). But beginning in the 1960s, and motivated by debates on women's positions in Western countries, scholars began to look directly at African women. The publication in 1960 of Femmes d'Afrique Noire (translated three years later as Women of Tropical AfricaT a collection of essays by female anthropologists, set the stage for a new phase in the
Load more

Recommended publications
  • Gender and the Erotics of Nationalism in Ngu˜Gı˜ Wa Thiong'o's Drama
    Gender and the Erotics of Nationalism in Ngu˜gı˜ wa Thiong’o’s Drama Evan Maina Mwangi Evan Maina Mwangi is Assistant Professor of English at Northwestern University, where he researches the intersection of nationalism, gender, and sexuality in African literatures and popular culture. He is coauthor (with Simon Gikandi) of The Columbia Guide to East African Literature since 1945 (Columbia University Press, 2007) and the author of Africa Writes Back to Self: Metafiction, Gender, Sexuality (forthcoming, State University of New York Press). His current book project, “(M)Other Tongue Matters: Translation and Gender in Indigenous African Literatures,” focuses on Ngu˜gı˜’s and other writers’ use of sex as a theme and a metaphor in creative works and polemical essays. TDR: The Drama Review 53:2 (T202) Summer 2009. ©2009 90 New York University and the Massachusetts Institute of Technology Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.2.90 by guest on 27 September 2021 Introduction Kenyan author Ngügï wa Thiong’o has been a leading voice in African indigenous-language community theatre for over 30 years. In 1977 his first literary work in Gïküyü, Ngaahika Ndeenda (published in 1980 and translated as I Will Marry When I Want in 1982), coauthored with Ngügï wa Mïriï in collaboration with peasants and workers from their hometown of Limuru, led to his detention without trial by the Kenyan government. This kind of politically engaged performance forms the centerpiece of Ngügï’s artistic production. The influence that
    [Show full text]
  • Ngugi Wa Thiong'o and the Search for a Populist Landscape Aesthetic." Environmental Values 3, No
    The White Horse Press Full citation: Binder, Renee and G.W. Burnett, "Ngugi Wa Thiong'o and the Search for a Populist Landscape Aesthetic." Environmental Values 3, no. 1, (1994): 47-59. http://www.environmentandsociety.org/node/5506 Rights: All rights reserved. © The White Horse Press 1994. Except for the quotation of short passages for the purpose of criticism or review, no part of this article may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, including photocopying or recording, or in any information storage or retrieval system, without permission from the publishers. For further information please see http://www.whpress.co.uk. Ngugi Wa Thiong’o and the Search for a Populist Landscape Aesthetic RENEE BINDER* AND G.W. BURNETT† *US Forest Service Sumter National Forest Mountain Rest, South Carolina 29664 USA †Department of Parks, Recreation and Tourism Management Clemson University Clemson, South Carolina 29631 USA Direct correspondence to: G. W. Burnett, Room 263 Lehotsky Hall, Clemson University, Clemson, SC 29631. ABSTRACT: This essay examines how Ngugi wa Thiong’o, East Africa’s most prominent writer, treats the landscape as a fundamental social phenomenon in two of his most important novels, A Grain of Wheat and Petals of Blood. Basing his ideas in an ecological theory of landscape aesthetics resembling one recently developed in America, Ngugi understands that ability to control and manipulate a landscape defines a society. Nostalgia for the landscape lost to colonialism and to the corrupting and alienating influences of international capitalism needs to be replaced by its progressive evaluation as it is reshaped by collective action for a new future.
    [Show full text]
  • Character Names and Types in Ngũgĩ Wa Thiong'o's Devil on the Cross and Wizard of the Crow
    UCLA Ufahamu: A Journal of African Studies Title Character Names and Types in Ngũgĩ wa Thiong’o’s Devil on the Cross and Wizard of the Crow Permalink https://escholarship.org/uc/item/2qv2b257 Journal Ufahamu: A Journal of African Studies, 38(3) ISSN 0041-5715 Author Ndĩgĩrĩgĩ, Gĩchingiri Publication Date 2015 DOI 10.5070/F7383027729 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Character Names and Types in Ngũgĩ wa Thiong’o’s Devil on the Cross and Wizard of the Crow* Gĩchingiri Ndĩgĩrĩgĩ Character names and character types are recognizable devices that mediate themes in Ngũgĩ wa Thiong’o’s fiction. These charac- ter names and character types encapsulate the social reality that the author writes about and comprise a fresh way of understand- ing his novels. From this encapsulation, authorial partisanship and worldview are decipherable. A cursory review of Ngũgĩ’s fiction reveals that these two aspects are sporadically found in his ear- lier fiction—The River Between, Weep Not, Child and A Grain of Wheat—but they become more evident features of Ngũgĩ’s style in Petals of Blood and are used to maximum effect in Devil on the Cross, Matigari, and more recently in Wizard of the Crow. For pur- poses of brevity, however, the discussion in this paper focuses on Devil on the Cross and Wizard of the Crow.1 The section on Devil on the Cross appeared originally in Ufahamu and only minor changes have been made in the analysis of the text in that section.2 The section on Wizard of the Crow is entirely new.
    [Show full text]
  • 20-African-Playwrights.Pdf
    1 Ama Ata Aidoo Professor Ama Ata Aidoo, née Christina Ama Aidoo (born 23 March 1940, Saltpond) is a Ghanaian author, poet, playwright and academic, who is also a former Minister of Education in the Ghana government. Life Born in Saltpond in Ghana's Central Region, she grew up in a Fante royal household, the daughter of Nana Yaw Fama, chief of Abeadzi Kyiakor, and Maame Abasema. Aidoo was sent by her father to Wesley Girls' High School in Cape Coast from 1961 to 1964. The headmistress of Wesley Girls' bought her her first typewriter. After leaving high school, she enrolled at the University of Ghana in Legon and received her Bachelor of Arts in English as well as writing her first play, The Dilemma of a Ghost, in 1964. The play was published by Longman the following year, making Aidoo the first published African woman dramatist. 2 She worked in the United States of America where she held a fellowship in creative writing at Stanford University. She also served as a research fellow at the Institute of African Studies, University of Ghana, and as a Lecturer in English at the University of Cape Coast, eventually rising there to the position of Professor. Aside from her literary career, Aidoo was appointed Minister of Education under the Provisional National Defence Council in 1982. She resigned after 18 months. She has also spent a great deal of time teaching and living abroad for months at a time. She has lived in America, Britain, Germany, and Zimbabwe. Aidoo taught various English courses at Hamilton College in Clinton, NY in the early to mid 1990s.
    [Show full text]
  • ——————— Ά Subversion and the Carnivalesque
    NICK MDIKA TEMBO ——————— Subversion and the Carnivalesque Images of Resistance in Ngg wa Thiong’o’s Wizard of the Crow A BSTRACT The carnivalesque as a guiding concept provides a useful approach to technique and thematic concerns in the African novel, as some contemporary African novelists have integrated elements of resistance to some form of hegemonic dis/order in their novels. What this essay claims is that Ngũgĩ wa Thiong’o’s Wizard of the Crow deploys the carnivalesque as an ideology and weapon of resistance, where the popular voice of the marketplace wo/man is employed to subvert instituted authority. The essay interrogates globalization and Structural Adjustment Programmes, arguing that they are re-invented ideologies of colonization for the twenty-first century. To examine elements of resistance in this novel is thus to examine the ways, both salient and silent, in which the postcolony can combat monstrous postcolonial African régimes and the largely negative impact of globalization on Africa. Introduction I thought they were going to reform society and rule justly, and so I watched their proceedings with deep interest. I found that they made the other regime look like a golden age.1 GŨGĨ WA THIONG’O is one of the most important of Africa’s writers, and certainly the foremost voice of East African literature. N From Weep Not, Child, The River Between, and A Grain of Wheat to Petals of Blood, Devil on the Cross, Matigari, and Wizard of the Crow, he has consistently used the medium of prose fiction and other artistic devices to critique, lampoon, plead, lament, threaten, and paint a picture of the disaster 1 Plato, in Desmond Lee, “Introduction” to Plato, The Republic (Harmondsworth: Penguin, 1982): 14.
    [Show full text]
  • Revisiting the Goldenberg Ghosts,Knowing
    Remembering Zindzi, the Other Mandela By Isaac Otidi Amuke On 10 February 1985, the world’s attention was drawn to the courageous defiance of 25-year- old Zindzi Mandela, the youngest of two daughters born to political prisoner Nelson Mandela and anti- apartheid revolutionary Winnie Madikizela-Mandela. The occasion was a rally at Soweto’s Jabulani Stadium organised by the anti-apartheid caucus, the United Democratic Front (UDF), to celebrate the awarding of the Nobel Peace Prize to Johannesburg’s Bishop Desmond Tutu. In the absence of her parents (Mandela in jail and Madikizela-Mandela banned and banished in Brandfort) anti- apartheid stalwart Albertina Sisulu took the role of guardian, standing next to Zindzi. Zindzi sang, danced and occasionally punched her clenched fist into the air to chants of Amandla!, before reading her father’s historic letter to the nation. Apartheid South Africa’s President P.W. Botha had used prison back channels to offer Mandela the option of an early conditional release, having served two decades. In declining Botha’s overtures, Mandela sought to respond through a public communique, hence his decision to deploy Zindzi to the front lines. Zindzi did not disappoint. Having grown into her own as an activist and witness to the barbarism the apartheid state had unleashed on Black South Africans, and especially on the Mandela–Madikizela- Mandela family, Zindzi powerfully delivered the nine-minute message, which was punctuated by recurring recitals of ‘‘my father and his comrades”. Her chosen refrain meant that Zindzi wasn’t only relaying Mandela’s words, but was also speaking on behalf of tens of political prisoners who lacked a medium through which to engage the masses.
    [Show full text]
  • Ngugi Wa Thiong'o's the River Between and Matigari
    Allegory and the Retrieval of History: Ngugi wa Thiong’o’s The River Between and Matigari Eriks Uskalis There is a need for analysis of postcolonial writing which, instead of as- suming dissent as a given, locates its forms and conditions of possibility within contexts that both determine and set limits on its expression. If dissent is defi ned by the effects of the power against which it reacts, it follows that different contexts will call for varied expressions of dissent. In terms of literary production the effects of dissent are often seen as shifts in form and genre. Through acts of dissemination and interpella- tion, the state, as well as the relative hegemonic strength of colonial and postcolonial discourse, have signifi cant ramifi cations on the formation of the context of dissent. I would argue, then, that an analysis of dissent which takes these factors into consideration should “study what was able to emerge within, and against, what seems at fi rst glance to be a domi- nant fi eld of social perception” (Polan qtd. in Lipseitz 31). It should come as no surprise that class plays a major part in the con- ditions out of which literature is produced, but the tenets set out in the above statements work against dismissals of texts which do not express dissent in terms of class. Class formations, in postcolonial times, are often too overdetermined to provide coherent forms of dissent. This can be fl eshed out by a discussion of Ngugi Wa Thiong’o’s novels The River Between and Matigari.
    [Show full text]
  • Ngũgĩ Wa Thiong'o's Wizard of the Crow and Postcolonial Pedagogy
    Ngũgĩ wa Thiong’o’s Wizard of the Crow and Postcolonial Pedagogy RAPHAEL DALLEO Florida Atlantic University [email protected] ABSTRACT The encyclopedic nature of Ngũgĩ’s Wizard of the Crow makes it an overt summing up of the author’s previous work. At the same time, the novel explicitly positions itself as a break from what came before by rethinking the anticolonial ideologies contained in the earlier work in light of what Wizard of the Crow references as an expanding postcoloniality. This shift can be seen in the philosophy of pedagogy the novel puts forward. Unlike the radical oppositionality of the anticolonial stance, postcolonial pedagogy is depicted as contingent, conflicted, but because of its decentralized, nonhi- erarchical nature potentially better able to redefine the field of possibili- ties than a radicalization of the master’s tools. Wizard of the Crow refuses to retreat from the intellectual’s obligation to oppose and critique global exploitation and inequality, positioning postcolonialism not as an abandon- ment or surmounting of anticolonialism as much as a re-imagining of its goals in changed circumstances. The novel seeks to imagine a decolonizing form of education that can stand against without replicating patriarchy and colonial hierarchy. n his review of Wizard of the Crow, Simon Gikandi notes the way the novel invokes Ngũgĩ wa Thiong’o’s previous work, most obviously by introducing one of the novel’s main characters while she reads Devil on the Cross. This Iintertextual clue leads Gikandi to argue that “Wizard of the Crow is a repetition of Ngũgĩ’s later novels, especially Petals of Blood and [.
    [Show full text]
  • Society for Ethnomusicology 58Th Annual Meeting Abstracts
    Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama.
    [Show full text]
  • Download Download
    iasa journal no 48, February 2018 www.iasa-web.org www.noa-audio.com Of course we have an archive! * * Is the most common argument we hear before clients have discovered our archive solutions. Metadata – media – workfl ows. This is not an archive. The fl exible media archive. A subsystem for QC and Media workfl ows in your archive. NEW SD Video Ingest Module FrameLector Processors to reshape your Processors for the transcription content. of archive carriers. CONTENTS 2018 Conference Reminder 2 IASA Journal Editorial Board 3 Editorial 4 President’s Letter 7 Profles ‘It’s Your Story, Don’t Lose It’ – Using Sound And Image Heritage to Bridge Cultures 10 Judith Opoku-Boateng, J. H. Kwabena Nketia Archives, Institute of African Studies, University of Ghana Interview with Robyn Holmes 2016 ASRA Award Recipient: Sound is My Passion 17 Melinda Barrie, University of Melbourne Archives, Australia Archiving the Digital RAI Collection of Traditional Folk Culture 22 Ettore Pacetti, Audiovisual Archives, RAI Teche, Italy Daniela Floris, Audiovisual Archives, RAI Teche, Italy Articles From International Shortwave to Digital Rebroadcast: Transforming Music Time in Africa for a New Worldwide Audience 31 Paul Conway, Associate Professor, School of Information, University of Michigan, USA Kelly Askew, Professor, Department of Anthropology, University of Michigan, USA IASA Research Grant Report: Pilot Project in Re-Study and Repatriation (Digital Return) of the International Library of African Music’s Hugh Tracey Field Recordings 49 Diane Thram, International
    [Show full text]
  • Kenya-Small.Pdf
    Published in Austria by SOS Children’s Villages International © 2014 by SOS Children’s Villages International. Please feel free to reproduce any content available herein; we would only ask you for the authors/photographers to be credited individually. SOS Children’s Villages International Hermann-Gmeiner-Straße 51, P.O. Box 209 A-6010 Innsbruck, Austria Email: [email protected] www.care-for-me.org Original report and research by: SOS Children’s Villages Kenya Finalisation by: Magdalena Krenn Supervising editor: Emmanuel Sherwin Cover artwork: Ertl design CONTENTS ACKNOWLEDGMENTS ........................................................................................................ 4 ACRONYMS ......................................................................................................................... 5 EXECUTIVE SUMMARY ....................................................................................................... 6 INTRODUCTION ................................................................................................................... 8 METHODOLOGY .................................................................................................................. 8 a) Country background ...............................................................................................10 LEGAL AND POLICY FRAMEWORK ...................................................................................12 a) International and regional legislation ......................................................................12
    [Show full text]
  • The Social Dynamics of Selling Sex in Mombasa, Kenya: a Qualitative Study Contextualizing High Risk Sexual Behaviour Karen M
    Hampanda Social dynamics of selling sex in Mombasa ORIGINAL RESEARCH ARTICLE The social dynamics of selling sex in Mombasa, Kenya: a qualitative study contextualizing high risk sexual behaviour Karen M. Hampanda Department of Health and Behavioural Sciences, University of Colorado Denver, CO, USA *For correspondence: Email: [email protected] Abstract Female sex workers (FSWs) in sub-Saharan Africa have one of the highest HIV seroprevelance rates of any population. Effective safe sex interventions are urgently needed to stop the transmission of HIV during commercial sex. Despite widespread education, counselling, and condom distribution interventions among FSWs, unprotected sexual intercourse remains a large behavioural challenge. Research on this topic has been limited primarily to establishing the frequency of high risk sexual behaviour without a comprehensive analysis of the social environment creating these factors, especially gender inequality. Through qualitative in- depth interviews and focus group discussions with FSWs, this article contextualizes the selling of sex in one large urban city of Kenya. The results of this study indicate that FSWs will never be able to enforce safe sex among male clients in such settings without structural interventions that address gendered socioeconomic power imbalances. Policy implications based on these findings include re-evaluating laws against the selling of sex and prioritizing female education and economic opportunities. ( Afr J Reprod Health 2013; 17[2]: 141-149). Résumé Les femmes prostituées(FP) en Afrique sub-saharienne ont l'un des taux les plus élevés de la séroprévalence du VIH de toute population. Il faut des interventions sexuelles efficaces sûres de toute urgence pour arrêter la transmission du VIH lors des rapports sexuels commerciaux.
    [Show full text]