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Essay / Research Paper Abstract
A 1 page discussion that briefly examines three contemporary African writers. The writer argues that the perspective offered by Mariana Ba in So Long the Letter and also Sembene Ousmane in God's Bits of Wood differs from that of V.Y. Mudimbe in The Rift. Bibliography lists 6 sources.
Page Count:
1 pages (~225 words per page)
File: KE9_99bamuou.rtf
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Unformatted sample text from the term paper:
Ahmed Nana is presented is intrinsic to the thematic context of the novel and does appear to indicate that deduction. However, other African authors such as Mariana Ba in So
Long the Letter and also Sembene Ousmane in Gods Bits of Wood appear to have a totally different perspective relative to the stability of black intellectuals in African history.
In The Rift, Nana, an anthropological researcher into Kuba history and customs, appears to be having a nervous breakdown (Harrow 626). The "rift" that appears in the title
refers to the mental "fissure" that threatens to claim Nana. This theme brings into play concerns of faith set against a backdrop of political corruption (Harrow 626). While the protagonists
in the other two works are subject to the same sorts of pressures that cause Nana to suffer, in their case, rather then causing a collapse, it can be
argued that their difficulties only serve to make them stronger---within a certain perceptive. Sembene Ousmane, in his moving novel Gods Bits of Wood, portrays the ambivalence that existed between
Africans and the encroaching French, as well as the ambivalence between the Africans themselves, at the end of the colonial period. In this novel, which was published in 1960, Ousmane
examines the topics of race and class in two distinctly political ways. One approach that he employs utilizes trade unionism as a liberating force from colonialism in French West Africa
in 1947 (Smith 51). However, he also focuses on "class consciousness as a principle of national organization in postcolonial times" (Smith 51). While on the surface "Gods Bits" may
seem to be as negative a "The Rift," when one looks a little deeper into the thematic content of both works, it becomes evident that Ousmane is more concerned with
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