By Bernth Lindfors, Geoffrey V. Davis
This tribute assortment displays the wide variety and variety of James Gibbs's educational pursuits. the focal point is on Africa, yet comparative reports of alternative literatures additionally obtain recognition. Fiction, drama, and poetry by means of writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, eire, England, Germany, India, and the Caribbean are surveyed along major missionaries, scientists, performers, and students. The writers mentioned contain Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngũgĩ wa Thiong'o, Okot p'Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli-Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. different essays deal with the black presence in eire, nameless rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller within the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary student and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi also are integrated. additionally provided are poems by means of Jack Mapanje and Kofi Anyidoho, brief tales via Charles R. Larson and Robert Fraser, performs through Femi Osofisan and Martin Banham, and an account of a dramatic interpreting of a script written and co-performed by way of James Gibbs. individuals: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive-Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann.
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Additional info for African Literatures and Beyond: A Florilegium
Professor’s obsession with accidents often transforms objective transcriptions of the events into an encrypted, illusory mental image of what actually happened, as in the following exchange between him and one of the habitués of his “shrine,” Kotonu: KOTONU: PROF: KOTONU: PROF: KOTONU: PROF: There was this lorry… Before the event friend, before the event. Were you accessory before the fact? Even before the bridge, I saw what was yet to happen. [puts down the pen. ] You swear to that? It was a full load and it took some moments overtaking us, heavy it was.
White Mythologies: Writing History and the West (London: Routledge, 1990). a Interpreting the Interpreters The Narratives of the Postcolony in Wole Soyinka’s The Interpreters S OL A A DEYEMI Introduction T in recent years encourages a re-examination of the narrative strategies and arts of persuasion employed by African writers, many of whom use certain methods to evoke the discourse of plausibility and probability in their fictional creations. Early Nigerian writers in particular, during the period immediately after liberation from British colonial rule in 1960, used their rich oral antecedents, myths, cultural beliefs, and traditional values, combined with values and language inherited from the colonial past, to forge a creative link between their ideas, their ideals, and contemporary issues, and to predict a course for their young nation.
1965]): 32–38. ——. Opera Wonyosi (Bloomington: Indiana U P , 1981). ——. The Road (London: Oxford U P , 1965). a The Enduring Relevance of Kobina Sekyi’s The Blinkards in Twenty-First-Century Ghana A WO M ANA A SIEDU They conclude that all things African are bad and all things European and American are good. 1 T by a thirteen-year-old in the early 1960s, capture the essence of Kobina Sekyi’s ideas as expressed in his play The Blinkards, the earliest Ghanaian play, written and first produced in 1916.
African Literatures and Beyond: A Florilegium by Bernth Lindfors, Geoffrey V. Davis