Intersectionality and complexity in the representation of ‘queer’ sexualities and genders in African women’s short fiction
- Authors: Du Preez, Jenny Boźena
- Date: 2019
- Subjects: Sexual minority culture , Sexual minorities' writings , African fiction -- Women authors -- History and criticism , Gender identity in literature , Short stories, South African , Feminism in literature , Political poetry , Eroticism in literature , Lesbianism in literature
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/119047 , vital:34697
- Description: This thesis sets out to contribute to the growing body of knowledge about queer sexualities and genders in Africa by examining their depiction in selected post-2000 African women’s short fiction written in English. Post-2000, the short story form has become the primary vehicle for queer representations by African women writers, and is thus an important development in the burgeoning body of queer literature by African writers. Broadly speaking, this literary formation can be defined as anti-homophobic, feminist and politically pragmatic. Using an intersectional lens, this thesis sets out to examine four significant strands in the political work these stories engage in. The chapters are structured around four main points of contention that have particular significance at the intersection of ‘queer’, ‘women’ and ‘Africa’. Firstly, I examine South African short stories that perform what I call queer conversations with history: imaginatively asserting a queer South African history, writing back against a male-dominated and heterosexist literary canon and, in doing so, contributing to the reimagination of the contemporary South African nation. Secondly, I analyse short stories from Africa that foreground the family, both as social formation and ideology. I examine how these stories ‘fracture’ this powerful and naturalised heterosexist concept by depicting the tensions and contradictions that queer characters experience in relation to family. Thirdly, I consider short stories from various African contexts that work to reconceptualise queer sexuality in relation to religious discourse in order to challenge homophobic and patriarchal religious authority. Finally, I examine queer, feminist erotic short stories by African women writers that challenges various colonialist, racist, sexist and lesbophobic discourses that have historically stifled the portrayal of sex and erotic experience between women.
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Female identity in the post-millennial Nigerian novel: a study of Adichie, Atta, and Unigwe
- Authors: Wambui, Mary Theru
- Date: 2015
- Subjects: Adichie, Chimamanda Ngozi, 1977- -- Criticism and interpretation , Adichie, Chimamanda Ngozi, 1977-. Purple hibiscus , Atta, Sefi -- Criticism and interpretation , Atta, Sefi -- Everything good will come , Unigwe, Chika. Criticism and interpretation , Unigwe, Chika. Fata Morgana -- English , Nigerian fiction -- History and criticism , Women -- Identity , Women in literature , Feminism in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2330 , http://hdl.handle.net/10962/d1020013
- Description: This thesis project examines the work of three female Nigerian authors: Chimamanda Ngozi Adichie, Sefi Atta and Chika Unigwe. They are part of a growing number of young African writers who are receiving international acclaim and challenging narratives that have long defined the continent in pejorative terms. They question what it means to be female and African in a transcultural, global world but counter discourses that are both restrictive and prescriptive. Their female characters are not imaged in binary terms as either victims or villains. For all three writers, the African story has to be told in its entirety incorporating what some may argue are negative stereotypes but doing so in a manner that examines and undermines those same stereotypes. For the purposes of the thesis, I focus on their first novels: Adichie’s Purple Hibiscus, Atta’s Everything Good Will Come and Unigwe’s On Black Sisters’ Street. Chapter One examines Purple Hibiscus and argues that the novel is much more than a coming of age story or, as some critics have posited, an allegory of the postcolonial state. Chapter Two highlights Atta’s use of fairly familiar feminist theories but grounds them in the lived realities of the African city. All three authors are concerned with issues of violence and death. Unigwe’s novel, which forms the focus of Chapter Three, offers a critical perspective on how both of those themes intersect with the increasing commercialisation of global culture. Her characters are female sex workers whose lives are irrevocably altered by the murder of one of their colleagues. I conclude by arguing that the three novels offer a nuanced if not necessarily new understanding of the various social, economic and political forces that continue to shape the lives of women on the continent.
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