Titlebook: On the Sacred in African Literature; Old Gods and New Wor Mark Mathuray Book 2009 Palgrave Macmillan, a division of Macmillan Publishers Li

outskirts

fixed-joint

Sacred Realism: Ben Okri’s fs and ritual, and aesthetic practices of Nigerian society, to create, within the form of the novel, a complex amalgamation, in generic terms, of realism and fantasy. However, his novel is vastly dissimilar from the magic realisms of Gabriel Gárcia Márquez and Salman Rushdie, who both essentially re

來(lái)就得意

prostate-gland

bromide

FQXi, catalyzes, supports, and disseminates research on questions at the foundations of physics and cosmology, particularly new frontiers and innovativeideas integral to a deep understanding of reality, but unlikely to be supported by conventional funding sources..978-3-030-09310-5978-3-319-75726-1Series ISSN 1612-3018 Series E-ISSN 2197-6619

originality

Introductioneminent. Writers like Chinua Achebe, Wole Soyinka, Ngugi wa Thiong’o and Ayi Kwei Armah engaged with the extratextual world through narrative strategies that were often oppositional and disjunctive. If we agree with Jonathan Culler that ‘the novel serves as the model by which society conceives of it

裙帶關(guān)系

Realising the Sacred: Chinua Achebe’s ‘both a unique creation and the work of a unique creator’ generates a belief in the fundamental worth and independence of every human being and a political organisation that is marked by a ‘fierce egalitarianism’ (‘.’ 98, 103). However, Achebe is quick to point out that, unlike the Western ideal of

TATE

padding

exhilaration

Sacred Realism: Ben Okri’s world populated by spirits, gods, the unborn, the living and the dead, where mutant and hybrid creatures intermingle with ordinary people. Yet, it is my contention that Okri, in contradistinction to Rushdie and Gárcia-Márquez, is writing/re-writing a form of realism, which I shall call .. This new t