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.
- Full Text:
- Date Issued: 2015
- 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.
- Full Text:
- Date Issued: 2015
Pathologies of vision : representations of deviant women and the cyborg body
- Authors: Rheeder, Elle-Sandrah
- Date: 2015
- Subjects: Haraway, Donna Jeanne -- Criticism and interpretation , Deviant behavior in art , Cyborgs in art , Cyborgs in motion pictures , Women in art , Socialist feminism , Hysteria in literature , Hysteria -- History , Science fiction -- History and criticism , Visual communication in art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2514 , http://hdl.handle.net/10962/d1020319
- Description: This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
- Full Text:
- Date Issued: 2015
- Authors: Rheeder, Elle-Sandrah
- Date: 2015
- Subjects: Haraway, Donna Jeanne -- Criticism and interpretation , Deviant behavior in art , Cyborgs in art , Cyborgs in motion pictures , Women in art , Socialist feminism , Hysteria in literature , Hysteria -- History , Science fiction -- History and criticism , Visual communication in art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2514 , http://hdl.handle.net/10962/d1020319
- Description: This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
- Full Text:
- Date Issued: 2015
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