Publisher description

The politics of development in Africa have always been central concerns of the continent's literature. Yet ideas about the best way to achieve this development, and even what development itself should look like, have been hotly contested. African Literature as Political Philosophy looks in particular at Achebe's Anthills of the Savannah and Petals of Blood by Ngugi wa Thiong'o, but situates these within the broader context of developments in African literature over the past half-century, discussing writers from Ayi Kwei Armah to Wole Soyinka. M.S.C. Okolo provides a thorough analysis of the authors' differing approaches and how these emerge from the literature. She shows the roots of Achebe's reformism and Ngugi's insistence on revolution and how these positions take shape in their work. Okolo argues that these authors have been profoundly affected by the political situation of Africa, but have also helped to create a new African political philosophy.

The influence of colonialism and race on the development of African literature has been the subject of a number of studies. The effect of patriarchy and gender, however, and indeed the contributions of African women, have up until now been largely ignored by the critics. Contemporary African Literature and the Politics of Gender is the first extensive account of African literature from a feminist perspective. In this first radical and exciting work Florence Stratton outlines the features of an emerging female tradition in African fiction. A chapter is dedicated to each to the works of four women writers: Grace Ogot, Flora Nwapa, Buchi Emecheta and Mariama Ba. In addition she provides challenging new readings of canonical male authors such as Chinua Achebe, Ngugi wa Thiongo'o and Wole Soyinka. Contemporary African Literature and the Politics of Gender thus provides the first truly comprehensive definition of the current literary tradition in Africa.

This book explores what constitutes contemporary African social and political philosophy with regard to its meaning, aims, sources, and relevance for today’s Africa. Kasanda denounces conventional approaches considering these either as a subcategory of general philosophy or as the ideological attempts of individual African leaders and professional philosophers, such as Nkrumah, Nyerere, Senghor, Fanon, Hountondji and Towa. On the contrary, Kasanda defines contemporary African social and political philosophy as an inclusive reflection of African communities with regard to power and equitable modes of social and political organization in order to promote human excellence for everyone. This perspective also includes the criticism of social and political concepts in use within African communities. The author postulates that contemporary African social and political philosophy relies on the legacy of precolonial African societies, as well as on the contribution of the diaspora throughout the world. Contemporary African social and political philosophy is rooted in the daily lives of African people, and it expresses itself through multiple modalities including, for example, art, religion, literature, music and the policy of urbanization of African cities. This book sheds new light on debates concerning topics such as ethnophilosophy, negritude, pan-Africanism, democracy, African civil society, African cultures, and globalization. It aims to ward off the lethargy that strikes African social and political philosophy, taking a renewed and critical approach.

African philosophy has for long been rejected on the basis that it is not known, or has not been written down. Behind this view is the idealist presumption that for something to exist, it must first be perceived. However, for something to be perceived, it must first exist. African Philosophy: Critical Dimensions examines what constitutes African philosophy in terms of its meaning, foundation, sources, methodology, characteristics, and relevance. The book analyses traditional African philosophy from the political, social, ethical, epistemological and metaphysical angles. The book further critically discusses modern African political philosophy, modern African social philosophy, modern African economic philosophy, and modern African philosophy of religion. It ends with the identification of the different conclusions that were derived from the study and general recommendations, some specifically for researchers and writers, especially in the area of African philosophy. Wilfred Lajul joins other authentic voices examining African Philosophy.

This book investigates the ways in which soft power is used by African countries to help drive global influence. Selecting four of the countries most associated with soft power across the continent, this book delves into the currencies of soft power across the region: from South Africa’s progressive constitution and expanding multinational corporations, to Nigeria’s Nollywood film industry and Technical Aid Corps (TAC) scheme, Kenya’s sport diplomacy, fashion and tourism industries, and finally Egypt’s Pan-Arabism and its reputation as the cradle of civilisation. The book asks how soft power is wielded by these countries and what constraints and contradictions they encounter. Understandings of soft power have typically been driven by Western scholars, but throughout this book, Oluwaseun Tella aims to Africanise our understanding of soft power, drawing on prominent African philosophies, including Nigeria’s Omolúwàbí, South Africa’s Ubuntu, Kenya’s Harambee, and Egypt’s Pharaonism. This book will be of interest to researchers from across political science, international relations, cultural studies, foreign policy and African Studies. The Open Access version of this book, available at http://www.taylorfrancis.com/books/e/ 9781003176022, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license

An ambitious look at the African novel and its connections to African philosophy in the twentieth and twenty-first centuries The African Novel of Ideas focuses on the role of the philosophical novel and the place of philosophy more broadly in the intellectual life of the African continent, from the early twentieth century to today. Examining works from the Gold Coast, South Africa, Uganda, and Zimbabwe, and tracing how such writers as J. E. Casely Hayford, Imraan Coovadia, Tendai Huchu, Jennifer Nansubuga Makumbi, and Stanlake Samkange reconcile deep contemplation with their social situations, Jeanne-Marie Jackson offers a new way of reading and understanding African literature. Jackson begins with Fante anticolonial worldliness in prenationalist Ghana, moves through efforts to systematize Shona philosophy in 1970s Zimbabwe, looks at the Ugandan novel Kintu as a treatise on pluralistic rationality, and arrives at the treatment of “philosophical suicide” by current southern African writers. As Jackson charts philosophy's evolution from a dominant to marginal presence in African literary discourse across the past hundred years, she assesses the push and pull of subjective experience and abstract thought. The first major transnational exploration of African literature in conversation with philosophy, The African Novel of Ideas redefines the place of the African experience within literary history.

This Book is the outcome of a long project begun thirty years ago. It is a book on the makings of pan-Africanism through the predicaments of being black in a world dominated by being white. The book is a tribute and celebration of the efforts of the African-American and African-Caribbean Diaspora who took the initiative and the audacity to fight and liberate themselves from the shackles of slavery. It is also a celebration of those Africans who in their own way carried the torch of inspiration and resilience to save and reconstruct the Free Humanism of Africa. As a story of the rise from the shackles of slavery and poverty to the summit of Victors of their Renaissance Identity and Self-Determination as a People, the book is the story of African refusal to celebrate victimhood. The book also situates women as central actors in the Pan-African project, which is often presented as an exclusively masculine endeavour. It introduces a balanced gender approach and diagnosis of the Women actors of Pan-Africanism which was very much lacking. The problem of balkanisation of Africa on post-colonial affiliations and colonial linguistic lines has taken its toll on Africas building of its common identity and personality. The result is that Africans are more remote to each other in their pigeon-hole-nation-states which put more restrictions for African inter-mobility, coupled by education and cultural affiliations, the communication and transportation and trading networks which are still tied more to their colonial masters than among themselves. This book looks into the problem of the new wave of Pan-Africanism and what strategies that can be proposed for a more participatory Pan-Africanism inspired by the everyday realities of African masses at home and in the diaspora. This book is the first book of its kind that gives a comprehensive and multidimensional coverage of Pan-Africanism. It is a very timely and vital compendium.

Penpoints, Gunpoints, and Dreams explores the relationship between art and political power in society, taking as its starting point the experience of writers in contemporary Africa, where they are often seen as the enemy of the postcolonial state. This study, in turn, raises the wider issues of the relationship between the state of art and the art of the state, particularly in their struggle for the control of performance space in territorial, temporal, social, and even psychic contexts. Kenyan writer, Ngugi wa Thiong'o, calls for the alliance of art and people power, freedom and dignity against the encroachments of modern states. Art, he argues, needs to be active, engaged, insistent on being what it has always been, the embodiment of dreams for a truly human world.

Decolonisation has lost its way. Originally a struggle to escape the West’s direct political and economic control, it has become a catch-all idea, often for performing ‘morality’ or ‘authenticity’; it suffocates African thought and denies African agency. Olúfẹ́mi Táíwò fiercely rejects the indiscriminate application of ‘decolonisation’ to everything from literature, language and philosophy to sociology, psychology and medicine. He argues that the decolonisation industry, obsessed with cataloguing wrongs, is seriously harming scholarship on and in Africa. He finds ‘decolonisation’ of culture intellectually unsound and wholly unrealistic, conflating modernity with coloniality, and groundlessly advocating an open-ended undoing of global society’s foundations. Worst of all, today’s movement attacks its own cause: ‘decolonisers’ themselves are disregarding, infantilising and imposing values on contemporary African thinkers. This powerful, much-needed intervention questions whether today’s ‘decolonisation’ truly serves African empowerment. Táíwò’s is a bold challenge to respect African intellectuals as innovative adaptors, appropriators and synthesisers of ideas they have always seen as universally relevant.