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In the time since most African countries achieved independence from European colonial powers, it is unfortunate that these nations are still politically, economically, and culturally reordered by their former colonisers. This book argues that these nations often slavishly emulate Western values to the detriment of indigenous ones. It challenges the postcolony to ground itself in local experience and then nativise external values, which entails delicately sifting through both the domestic and foreign worlds to build a decent and humane society.
In this collection, Nigerian poet Tanure Ojaide adopts the persona of a homeboy griot returning from travels to be confronted by the devastation wrought by oil greed, politics, and technology upon his beloved Niger Delta; its environment, civilisation and people. It becomes a tragedy of corruption, suffering and dispossession in sharp contrast to the eco-sensitive animism of his youth. Angry, elegiac and lyrical, this collection allows the reader insight far beyond the reach of journalism or prose.
Engaging and interrogating the idea of a ‘Global Africa’, this book examines how African literary and cultural productions have changed over the years due to the social and political influences brought about by increased globalisation. Tanure Ojaide takes a variety of European theoretical concepts and applies these to African literature, oral traditions, culture, sexuality, political leadership, environmentalism, and advocacy, demonstrating the universality of the African experience. Challenging African literary artists and scholars to think creatively about the future of the culture and literature, this new collection of literary and cultural criticism from scholar-writer Tanure Ojaide is an essential read for students and scholars of African literature and culture.
Eco-Critical Literature: Regreening African Landscapescritically examines the representations, constructions, and imaginings of the relationship between the human and non-human worlds in contemporary African literature and culture. It offers innovative, incisive, and critical perspectives on the importance of sustaining a symbiotic relationship between humans and their environment. The book thus carries African scholarship beyond the mere analysis of themes and style to ethical and activist roles of literature having an impact on readers and the public. It is a scholarship geared towards rectifying ecological imbalance that is prevalent in many parts of the continent that forms the setting, context, and thematic discourse of the works or authors studied in this book. Besides sensitizing the African readership to the need for the restoration of harmony between man and the environment, this book equally aims to further familiarize scholars and students working on African literature and culture with the theoretical concerns of eco-criticism.
This book examines the depiction of the Delta region of Nigeria through literature and other cultural art forms. The Niger Delta has been thrust into the global limelight due to resource extraction and conflict, but it is also a region with a rich culture, environment, and heritage. The creative imagination of the area’s artists has been fuelled by the area’s pressing concerns of indigenous peoples, minority discourse, environmental degradation, climate change, multinational corporations' greed, dictatorship, and people’s struggle for control of their resources. Taking a holistic approach to the Niger Delta experience, this book showcases artistic responses from literature, visual arts, and performances (such as masquerades, dances, and festivals). Chapters cover authors, artists, and performers such as Ben Okri, Ken Saro-Wiwa, Isidore Okpewho, J.P. Clark, and Bruce Onobrakpeya, as well as topics like the famous Benin bronze figures and Urhobo Udje dance. Affirming the wealth and diversity of the region which continues to inspire creative artistic productions, The Literature and Arts of the Niger Delta will be of interest to researchers of African literature, arts, and other cultural productions.
Its 2004 Port Harcourt at the height of the kidnap of oil workers in the Niger Delta, a kidnapping goes awry and four lives are reconnected. Douye aka Doughboy the career militant responsible for the crime. Amaibi the gentle university professor / eco-warrior accused. Kaniye the lawyer turned restaurateur who tries to get him off and Tubo an amoral oil company executive. Against a backdrop of corrupt practises, failed systems and injustice, these four friends tell the story of oil in a region and its effects on local communities and the Nigerian larger society. Chimeka Garricks in his extraordinary debut novel has written a frank and moving story about the realities of contemporary Nigeria. The evil long term effects of military rule resulting in the fragmentation and break down of moral values. His story paints a realistic picture of the very high price corruption exacts on a society and how no one is immune from its consequences. Chimeka has written a remarkable book; honest, insightful and tragic - Jude Dibia author of Blackbird. Tomorrow Died Yesterday is a chronicle of a region in turmoil, of a generation caught between the expectations of their parents and the depreciations of the Nigerian situation, each of these four men navigate their issues in different ways, and in their own voices. Mr Garricks is a new literary voice; unheralded, fresh, honest, unshorn of superficial flourish. Well worth the read. - Eghosa Imasuen, author of Fine Boys. I was struck by the force of the narrative - Prof. E. J. Alagoa.
Investigates what literary strategies African writers adopt to convey the impact of climate transformation and environmental change.
This work takes in two collections of poetry. The poems of Delta Blues protests against the environmental degradation of the Niger Delta, and the devastation unleashed upon local populations, victims, and caught up in the race for oil. The younger poet dedicates his work to Ken Saro Wiwa, and other civil-rights activists. He writes about the irony of their mortality, which was, their last resort and only threat; their death was the final protest. The poet contrasts the natural heritage of the river, a vital food and water source, with barrels of oil, which bring little benefit to the people of the river. He believes that remembering the past and the dead may be the only way of preventing history repeating itself. Ojaide has won the Commonwealth Writers' Prize for the Africa region and the Association of Nigerian Authors' Poetry Prize twice. He has performed and been translated around the world, and is regarded as a leading voice amongst the new (younger) generation.