Key Features:
- No of Pages: 42
- No of Chapters: 5
Introduction:
Abstract
The dominant literature in Africa had been oral literature, oral literature has been existing since a long time. There was a long delay in the emergence of written literature because of the wide-spread illiteracy in Africa. The blacks have suffered injustice from the white race right from the time of slavery, this we got to know thru history. It was among this group of Africans that crossed the sea and came in closer contact with the West, this contact now brought about the first seeds of new literature like Phyllis Wheatly and George Horton, these poets were prepared to embrace the values of the whites in which they have been initiated, despite this they deplored their enslaved condition. The new world literature of the black in the eighteen and nineteen century was referred to as ‘apprentice literature’ by Jan Janheinz in a book titled A History of Neo-African Literature published in 1968. African nationalism and pan-Africanism started in the new world, between 1900 and 1945,two conferences on pan-Africanism which was held in various European capitals including New York were to play a decisive role in the growth of nationalism among African students who were studying abroad. Political independence was first proclaimed as a goal of nationalism at the sixth pan-African congress in Manchester in 1945.
Blyden was the first black man to attempt an objective appraisal of African culture, in his book titled Christianity, Islam and the Negro Race published in 1887. In this book, he traced the history of African’s contact with the outside world and produced evidence from sociology, history and literature to show that Africans had something positive to show the world, he tried to rehabilitate the living cultures of African communities and took pride in blackness, he implored his fellow Afro-Americans to do the same. He urged the black race to embrace their history and their culture and use them as the foundation for building the future. Blyden’s meetings were coloured by romantic views of his contemporary world.
Peter Abrahams in 1945 was the first non-white African novelist in his novel Sons Of The City which later appeared in the fifties, this novel began to acquire its own identity and generate the present literary explosion in the fifties. Every writer is influenced by the tradition in which he acquire his tools of writing: the language, the styles and the forms which he’s familiar with before he starts writing, this can be seen in African writings which has its own distinctive characteristics that distinguished them from other areas of the world due to the acquisition of their tool of writing[the language, the styles, the forms] from their contact with their contact with the West. Critics such as Janheinz in the book titled A History of Neo-African literature, published in 1968 defended the view that there is an essential similarity between all literatures written by people whose origin can be traced back to Africa.
At the first Congress of Negro writers which was held in Paris 1956, one of the delegates Ben Enwonwu insisted on the declaration on the need for literature to put itself at the service of nationalism:
Ben Enwonwu (1956) declared that
The present generation of African artists therefore have
to face their political problems, and try to look at art
through politics, the kind of picture that the political
aspect of African art shows is one of strife and pity.
As African literature grew, it began to acquire different characteristics in different parts of the continent. Some part deviated from the appraisal of African, culture to face the realities of their society. South Africa deviated and started to write on their experiences and white domination, this led to ‘protest literature’ in South Africa the main emphasis is on the evils of racism, this can be seen in South Africa writers like Lewis Nkosi, Alan Patron portrays the denial of natural human relationship and the unnaturalness of the values imposed by racism, Alex La Guma in his work titled A Walk in The Night, portrays nothing but hostility between the world of the white man and the black man.
Africa literature has been divided into three broad traditions by critics. These are South African, Anglophone African and Francophone African. In South Africa the main emphasis has been on the evils of racialism, which is the main concern of this research work. The term ‘protest literature’ has often been applied to African literature in general, but the serious artists have always been concerned with more gestures of protest. In South Africa, there is an understandable preoccupation among non-white writers with the evils of repression, police brutality and arbitrary imprisonment which has led to the emergence of protest literature in South Africa.
Table of Content
Title page
Certification
Dedication
Acknowledgment
Table of contents
CHAPTER ONE
1.0 Introduction to the study
1.1 Statement of the problem
1.2 Purpose of the study
1.3 Scope of the study
1.4 Justification of the study
1.5 Methodology
CHAPTER TWO
Literature review CHAPTER THREE
Analysis of Alex La Guma’s A Walk in the Night
CHAPTER FOUR
Analysis of Peter Abrahams’ Mine Boy
CHAPTER FIVE
Summary, findings,conclusions
Introduction
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