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Creative Aesthetics of Literary Adaptations in Thomas Southerne’s Adaptation of Aphra Behn’s Oroonoko or the History of the Royal Slave . Get the full PDF
Samson Osariemen Eguavoen & Emmanuel B. Adeleke …………..………..…1-19
Adaptation is re-writing a work that has been previously published in a
new form. In this research, Aphrah Behn’s narrative work, Oroonoko and
Thomas Southern’s adaptation of the text are read to examine the creative
aesthetics of Southern’s Oroonoko as a literary adaptation. This
qualitative research, through comparative and contrastive analysis,
argues that Southerne’s adaptation of Behn’s prose helps to emphasize
and escalate Behn’s thematic concerns especially the anti-slavery subject
matter prominent in the narrative. By extension, Southerne’s adaptation
also exposes the pretensions of English society, especially the women,
through the characters of the Weldonn sisters. In conclusion, this paper
asserts that literary adaptations possess creative aesthetics and strongly
affirms that the playwright and the prose narrator share the same
responsibilities to entertain, criticize or condemn any identified wrong in
society.
Keywords: Aphra Behn, Creative Aesthetics, Literary Adaptation,
Deviation, Oroonoko, Thomas Southerne
Multilingual Expressions on Whatsapp: Cameroonian Students’ Cultural Identity. Get the full PDF
Nsom Karlson Nsom & Brinda Chowdhari …………………………………………20-34
This paper pinpoints the chemistry of culture and language that
Cameroonian students use on social media. This is done by analyzing
how Dschang University students use verbal and nonverbal language
on WhatsApp. The initial tenet is that the students use the digital
platform to brandish their multilingual and multicultural expressions.
As such, it is necessary to know the types of languages used, determine
what accounts for their use, and discuss the possible implications. To
do so, the Dynamic Model of Edward Schneider and the Social Semiotics
of Theo Van Leuween informed the analysis. Screenshots were taken
and downsized using convenient sampling from the students’ WhatsApp
groups. Results reveal that besides facilitating instant interaction in
academic peer-to-peer communication, WhatsApp posts also virtually
represent students’ identities such as tradition, costume, gastronomy,
and rituals. The study establishes that local colour, code-switching,
code-mixing and neologisms that result in language appropriation are
motivated by the multilingual background of the students. As such,
WhatsApp and other social media platforms can be used to potentially
contribute to the spread and exposure of the linguistic and cultural
landscape of Cameroon worldwide.
Keywords: Digital Culture, Language Appropriation, Online Identity,
WhatsApp Posts
Laboratoires de création et de recherche en arts scéniques et redynamisation de la production théâtrale camerounaise: le cas des Rencontres Théâtrales Universitaires. Get the full PDF
Guy Francis Tami Yoba………………………………………………………..……..35-54
Cet article se propose de démontrer qu’en dix ans d’existence, le concept
des Rencontres Théâtrales Universitaires (RETU) n’a cessé d’évoluer, au
point de devenir aujourd’hui l’une des plateformes d’expressions
scéniques incontournables qui animent la vie théâtrale au Cameroun de
manière constante et régulière. En effet, dans le but d’aider l’Etat à
juguler les effets sévères de la crise qui frappe avec acuité la production
théâtrale camerounaise, plusieurs initiatives privées ont été proposées ;
parmi lesquelles les RETU. Et dans cette optique, il est légitime de se
poser la question de savoir en quoi l’offre proposée par cette plateforme
de création contribue-t-elle de manière significative à la redynamisation
de la production théâtrale camerounaise en crise depuis quatre
décennies ? Pour se faire, cet article, qui s’inscrit exclusivement dans les
voies de la création théâtrale, procédera en trois étapes. Premièrement, il
sera dressé un bref état des lieux de l’actuelle production théâtrale
camerounaise. Deuxièmement, il s’agira de faire une présentation globale
des RETU. Et troisièmement enfin, il sera mis en exergue la contribution
de ce laboratoire de création dans la redynamisation de la production
théâtrale camerounaise. Mentionnons également que la démarche
méthodologique permettant de mener à bien cette recherche convoquera
respectivement une étude descriptive (qui fera également appel à une
approche historique) et une lecture analytique. Enfin, cette recherche
débouche sur quelques résultats
Keywords: ur quelques résultats.
Mots clés : Théâtre universitaire; Laboratoire de création et de recherche;
Arts scéniques; Production théâtrale camerounaise; Redynamisation
Incarner le Sorcier au Théâtre : Ayang Fred dans le Rôle de Sanga Tete dans The Inheritance de Hansel Ndumbe Eyoh . Get the full PDF
Joseph Noumbissi Wambo …………………………………………………………..55-74
Le 18 août 1991, le public découvre Ayang Fred dans le rôle de Sanga
Tete pendant la première de la pièce The Inheritance écrite par Hansel
Ndumbe Eyoh. La performance de l’acteur va aider à masquer les
défaillances logistiques de la production. Le comédien va puiser dans tout
son talent pour rendre ce sorcier attrayant, s’inspirant des idées reçues
sur les sorciers dans la vie quotidienne, de même que du feuilleton
L’Orphelin, en diffusion cette année-là à la télévision nationale. À la fin,
Ayang Fred va imposer ce personnage dans l’esprit des spectateurs,
tellement que ce sera son image qui illustrera la première de couverture
de la pièce enfin publiée en 1993. Comment le comédien arrive-t-il à
incarner un tel personnage ? L’acteur fera-t-il fi des stéréotypes chrétiens
sur celui-ci ou alors servira-t-il au public le cliché qu’il attend ? Nous
émettons l’hypothèse que le travail d’Ayang Fred respecte les stéréotypes
et ne cherche pas à surprendre le spectateur dans l’idée qu’il se fait des
traits discriminants de ce type de personnage. À travers les perceptions
de ce type de personnage au théâtre comme dans la vie africaine par
Gilbert Doho, Meinrad Hebga ou encore Rogo Koffi-Fiangor, nous
arrivons à la conclusion que la performance de Ayang Fred n’a pour seul
leitmotiv que la satisfaction du public par l’illusion, pourvu que le
spectateur arrive à identifier en lui les caractères définitoires d’un sorcier
africain, d’un vrai.
Keywords: Mise en scène; clichés; fable; première; sorcier
La résistance de l’autochtonie marocaine face à la colonisation française. Une lecture de La Rose de sable d’Henry de Montherlant. Get the full PDF
Jean-Baptiste Ndjoh Olite …………………………………………….…………..…75-99
Le narrateur de La Rose de sable s’attache en parallèle à analyser
l’évolution du héros, le lieutenant Lucien Auligny, jeune militaire idéaliste
convaincu des bienfaits de la colonisation et, soudain, en proie aux
doutes et aux contradictions quand il est confronté au réel, nous livrant
les nombreux débats, les nombreux dilemmes qui agitent alors sa
conscience. Tandis que discrètement, l’auteur lui-même intervient aussi
dans le récit pour dénoncer l’injustice foncière sur laquelle repose le
système colonialiste, et, notamment cette croyance en la supériorité
d’une ‘’race’’ sur l’autre. À l’exploitation et au sentiment de supériorité
des colons, répondent l’hypocrisie et une certaine veulerie des indigènes.
La question principale de ce sujet est : Quelle est l’attitude des Marocains
face à l’autorité française qui souhaite mettre un terme à leur autochtonie
? Cet article s’est proposé de démontrer que, à cause de la différence des
cultures des deux peuples, l’acceptation de l’une au détriment de l’autre
culture a constitué un réel problème pour l’un ou l’autre peuple. La
politique française de soumettre et de faire intégrer la masse indistincte
des populations pauvres à l’ensemble de la politique nationale française,
a été un échec ; le jeune officier Auligny va se faire assassiner par ceux
pour qui il avait décidé, au dernier moment, défendre. Pour mener à bien
ce travail, nous avons convoqué l’imagologie dans le sens de Daniel-Henri
Pageaux qui nous a permis de donner une vue globale du sujet. Cette
théorie présuppose que l’étude d’un texte ne peut être entreprise en vase
clos. Le texte est saisi comme un « espace dialogique » (selon les termes
de Mikhaïl Bakthine, 1970 : 366), comme un lieu où s’affrontent, se
recoupent et se répondent des discours, propagés par des groupes
sociaux en lutte. Elle postule que les discours portent les marques du
dialogisme, entendu comme influence sur un énoncé d’énoncés
antérieurs. En pratique, cela implique que l’analyse d’une proposition
donnée doit tenir compte de tout son contexte discursif (Marc ANGENOT,
1982 : 179).
Keywords: Roman, autochtonie, préjugés.
At the same time, the narrator of La Rose de Sable analyzes the evolution
of the hero, Lieutenant Lucien Auligny, a young idealistic soldier
convinced of the benefits of colonization, who suddenly falls prey to
doubts and contradictions when confronted with reality, revealing the
many debates and dilemmas that trouble his conscience. At the same time, the author himself intervenes in the story to denounce the injustice
on which the colonialist system is based, and in particular the belief in
the superiority of one “race” over another. The hypocrisy and a certain
lack of courage on the part of the natives contrast with the colonists’
exploitation and attitude of superiority. Regarding this issue, the primary
query was: How did the Moroccans respond to the French danger of losing
their indigenous identity? The article’s goal was to demonstrate how the
two peoples’ disparate cultures prevented acceptance of one at the
expense of the other. The killing of young lieutenant Auligny, the leader
of the French expedition to Morocco, ended the French ambition to
control the indiscriminate mass of impoverished people and include them
in its general agenda. After he left the mission, those he had chosen to
defend planned an assassination. Daniel-Henri Pageaux’s understanding
of imagology was crucial to our investigation because it gave us a
comprehensive understanding of the topic. This theory presupposes that
the study of a text cannot be undertaken in a vacuum. The text is
understood as a “dialogical space” (in the words of Mikhail Bakhtin,
1970:366), a place where discourses propagated by social groups in
struggle confront, overlap and respond to each other. It postulates that
discourses bear the hallmarks of dialogism, understood as the influence
of previous statements on an utterance. In practice, this means that the
analysis of a given proposition must take into account its entire
discursive context (Marc Angenot, 1982:179).
Keywords: Resistance, indigenousness, prejudice.
Black Woman: Strategies at Resisting Devaluation in Alice Walker’s The Color Purple and Meridian. Get the full PDF
Nges Zillah Kimbeng …………………………………….…………………..….…100-121
This article explores and exposes the various ways by which the black
woman is recouped from varied domineering structures that have
continued to limit her progress and contribution to development in the
USA. Black women have greatly progressed, but still, some instances
continue to resurge and delimit black female contributions that have
already been impacted. In response to the following questions, this article
reverberates two basic strategies and concerns that are intricate in
rebuilding and unravelling the black woman’s distinctiveness in the USA
centuries gone. Are there edifices that continue to impound black women
in the US? How does she resist them in the communities in which she
finds herself? How successful does she emerge at the end of Alice Walker’s
narratives under study? Based on created and achieved consciousness,
to resist such devaluing structures for black women, the heroines and
black female characters primly engage individual determination/
motivation, and bonding as agencies that are cogently provocative of
substantial change. Black feminist standpoints of Barbara Smith and
Bell Hooks have been adopted to guide the articulations of this paper
highlighting the intertwining and influence of racial, gender, sexual, and
classist structures to formulate an accurate identity for the black woman.
Nonetheless, resistance is tantamount to revolutionary change and
development of the black woman from the margins to the centre
Keywords: Black woman, devaluation, resistance, strategies
Gender, Patriarchy and the New Woman: Generational Preferences in Mariama Ba’s So Long a Letter . Get the full PDF
Ngome Jemia Maureen & Adamu Pangmeshi ……………………..……..…122-148
This paper demonstrates that female African novelists have had a great
and vital influence on the understanding of the cultural constraints that
exist within the patriarchal frames of reference concerning women and
the choices they make. Mariama Ba offers a rich and diverse
interpretation and understanding of the politics of gender and individual
choices common within conservative communities as far as crossgenerational differences are concerned. This work therefore underscores
the fact that African societies as exemplified in Ba’s So Long a Letter have
for a long time practised systems of meanings and values in maledominated contexts that work at the expense of women and their
emotional stability. Understanding the concept of gender is therefore
critical because of its dynamism in nature based on generational
appraisal. It has a lot of ramifications provoked by intelligence, polemical
grace, and a contagious pledge to expose the complexities of womanhood.
The paper concludes that the older generation displays a complex sense
of compliance and devotion to patriarchal values without challenging
them, while the new generation confronts their apprehensions and
despair to express their uniqueness. The feminist theory will used to
buttress my arguments.
Keywords: Gender, patriarchy, culture, generational, new woman
Oral Culture in the Written African Novel as an Excavation Site for Moral Redemption. The Case of Things Fall Apart by Chinua Achebe and The White Man of God by Kenjo Jumbam. Get the full PDF
Ngeh Ernestilia Dzekem…………..………………………………………………149-174
Many researchers have identified that African oral culture has
contributed enormously to the development of African literary discourse
in written European languages, but exploring how oral culture can be
exploited to review contemporary realities is still inadequate. This paper
demonstrates that oral culture in the contemporary African novel written
in the English language can be consulted as an excavation site for moral
redemption in the present global context that is visibly assaulted by high
technological advancement. Using Things Fall Apart by Chinua Achebe
and The white man of God by Kenjo Jumbam, this work identifies and
explores aspects of African oral culture and illustrates how they can be
used as archaeological dig sites to review political, economic and sociocultural concerns in this modern era. Achebe in Things Fall Apart and
Jumbam in The white man of God use different aspects of African oral
culture as tools to emphasize commitment in their creative endeavours
to evaluate the contemporary experience and propose a way forward.
Using new historicism and the theory of negritude for the analysis of
these texts, the study revealed that African oral culture in the written text
is committed to the wellbeing of the African people. It assumes that the
written text in the English language taps from the African oral tradition
to evaluate African collective morality and carve a path for the future.
Through careful reading of how the two writers tactfully put the oral
forms into print, the study concluded that the two novelists share the
opinion that looking back into African oral communities and their
different cultural reservoirs sustained by their oral cultural forms is one
of the relevant ways forward into a wider global context. The findings
revealed that the boundaries between oral culture and the written text
are porous with respect to the African novel and that the authentic
destiny of the modern African is in tapping from the past that is sustained
by its oral culture. The conclusion here is that oral culture can be
revisited to excavate significant knowledge systems that can be used to
address contemporary social concerns and for this reason, the two novels
are read as excavation sites for moral redemption
Keywords: Oral culture, African novel, Excavation, Moral, Redemption
From the Sarcophagus Revolution to The Politics of Crisis of Identity, It Brunt on The Health Sector in Anglophone Cameroon from 2016 to 2020. Get the full PDF
Christian Nwufor Fuh ………………………………………………………………..180-197
Political Crisis has been recognized in contemporary history as a
substantial barrier to healthcare and health infrastructures in the World.
Existing literature pays little attention to the analysis of the impact of the
ongoing armed conflict on healthcare and health infrastructures in the
Anglophone Regions of Cameroon. This paper aims to show the weight of
the armed, conflict on healthcare and health infrastructures. The
methodology adopted was based on exposed facto and survey design with
sources ranging from newspapers, articles in journals and textbooks to
reports. The evidence shows that patients are stranded as a result of road
blockages obstructing those heading for medical care. It was aggravated
by constant “Kontri Sunday” (ghost town) imposed by the Ambazonian
interim government which paralyzed the movement of various Vaccines
like Measles and Rubella, Oral Polio Vaccine, and Pneumococcal
Conjugate Vaccine as well as health workers. Healthcare personnel
recruited to work on the Progrommes, escape in search of sanctuary. It
made inhabitants especially infants, in these regions susceptible to Polio,
Measles and Rubella diseases. Even the herbal centres, herbalists and
soothsayers who used herbs and the back of trees known in Pidgin
English as “kandastick” to cure patients found it difficult to function in
the Northwest and Southwest Regions due to insecurity. This affected the
transportation of traditional medicine and therefore, people found
themselves unable to find traditional healthcare. The paper concludes
that the crisis has caused a brunt on healthcare and health
infrastructure thereby creating a none-bullet war in the Anglophone
Regions. If the worrying factions do not seek permanent peace the
Regions will record more deaths from diseases than bullets.
Keywords: Sarcophagus Revolution, Crisis of Identity, Healthcare, Health Infrastructures, Anglophone Cameroon
L’analepse comme opportunité narratologique dans le film La patrie d’abord de Thierry Ntamack. Get the full PDF
Aristide Sanama Nguillé …………………………………………………………….198-215
Cet article présente l’analepse (flash-back) comme opportunité technique
d’écriture cinématographique dans le film La patrie d’abord du
réalisateur-comédien Thierry Ntamack. Le film sorti en 2016 est
parsemé d’interruptions injustifiées du flot narratif principal, semant la
confusion sur les intentions du réalisateur. La question que cette
recherche pose est de savoir comment l’analepse peut contribuer à
l’intelligibilité d’un film tout en conservant son option pour une
esthétique par l’ellipse. L’objectif est de démontrer l’apport de ce procédé qui
rompt avec la linéarité dramaturgique du film. Il s’agit de penser au cours
du film La patrie d’abord, des plans et des scènes qui se sont déroulés
chronologiquement avant certaines actions et qui éclairent le spectateur
sur la projection mentale des sentiments des personnages. S’est donc le
recours à la rhétorique du souvenir par l’analepse qui est suggéré ici. Dans
une perspective sémiologique, la présente étude démontre que le marquage
énonciatif instauré par ces retours en arrière augmenterait l’intention de
l’auteur d’émouvoir, et à cet égard aussi, ferait preuve d’une maîtrise
narratologique. Pour conclure que le recours à cette figure de style ne relève
pas seulement d’un caractère décoratif, mais renforce également sur le plan
rhétorique le discours du film.
Keywords: analepse, flash-back, cinéma, narratologie, sémiologie,
rhétorique.
Post-Production Concepts in Cameroonian Theatre Practice: Problems and Prospects. Get the full PDF
Donatus Fai Tangem………………………………………………………………… 216-230
The fundamental and standard stages of theatre production are well
known. However, the applicability of these stages in practice is
wholesomely complex and ultimately dependent on other related
components. Among these are the objective and established goal of the
performing troupe vis-a-vis the target community which is the
destination of the performance. Therefore, while post-performance or
post-mortem, constitutes a crucial component in theatre practice, the
potential that is locked up in the exercise, reserves appreciable openings
both for the community to appropriate the performance, as well as the
promise of inclusiveness on the part of the troupe that owes it as a duty
to the community. In essence, every theatre performance targets an
audience, yet, whether or not the audience effectively takes ownership of
the performance can only be measured from the quality and quantity of
data obtained for post-mortem exercise. This is to say post-mortem is a
veritable gauge and measuring yardstick for the certification of the depth
of critical relation between the target and the performers. At this
juncture, the place and role of post-performance go beyond applause,
commentaries and any standing ovation or not, that sanctions the
reception of a spectacle by its target audience. Otherwise, the postperformance exercise opens a leeway for an evaluation of the practical
implication of the target audience in the performance. It is through this
implication that the performers gain greater insights as to how the show
effectively comes across or even how the performers access the needed
feedback from the spectators who, by the same measure indicate to both
the technical and artistic crews what aspects of the show require urgent
amelioration This paper therefore undertakes an evaluation of both the
problems as well as the prospects of post-production in theatre practice
in Cameroon. The analysis enables comprehension of what is either
missed or gained in the event of whether or not, post-production is
reasonably upheld by a theatre company. After all, it concretely assumes
that every post-performance also invariably constitutes a
preperformance, albeit intrinsically or even indirectly.
Keywords: Theatre practice, post-production, prospects and problems
