By Bernth Lindfors, Geoffrey V. Davis
This tribute assortment displays the big variety and variety of James Gibbs's educational pursuits. the point of interest is on Africa, yet comparative experiences of different literatures additionally obtain consciousness. Fiction, drama, and poetry by way 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 incorporated. additionally provided are poems by means of Jack Mapanje and Kofi Anyidoho, brief tales by way of Charles R. Larson and Robert Fraser, performs via Femi Osofisan and Martin Banham, and an account of a dramatic examining of a script written and co-performed via 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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Extra info for African Literatures and Beyond: A Florilegium
In this way, the process of developing a full conceptual grasp of power and the resources for nurturing it into a source of discernible social good can begin in earnest. This is not, of course, a crude nationalism, but a reaffirmation of the need to mine indigenous cultural, political, and cognitive values in order to ground whatever forms of postcolonial hybridity are fashioned in the African a Cultural Studies, Power, and the Idea of the Hegemonic 23 soil to ensure that their roots grow deeply and robustly rather than being attached to the indigenous shallowly and superficially, as in Bero’s nefarious interest in traditional medicine or as in Kongi’s desire to use the Yam Festival merely as a way of establishing himself and supplanting Obi Danlola’s spiritual and political hold over Isma.
It is Bero’s violation of the prohibition that, in a trajectory reminiscent of the logic of tragedy, brings him into conflict with the Earth Mothers. In a gesture of restorative justice, they set fire to the house while he and his father, whom he has murdered, are still inside. Even though the reason they destroy Bero is clearly his arrogant threats against them and also his patricide, it is largely his surreptitious co-option of not only the domestic space but also of the whole village and its autochthonous knowledge into the State’s inhumane ideological power-structure and practices that arouses their righteous anger.
He turns round to go back to his house. She won’t tell you. Take it from me. She won’t. (273– 74) In fact, Bero’s and the regime’s indiscriminate way of identifying subversives gives ample proof of the imprecision of their analytical tools. 27 The fixation on the material means of meaning-production exhibited in Bero’s overwhelming drive to include everything within his narrow ideological frame reminds one of the Professor’s intense ambition to reduce the metaphysics of the word to the graphology of the letter in Soyinka’s play The Road (1965).