Until the lives and issues of African women arrived on the agenda of postcolonial writers, African women, who continued their lives under double colonization by patriarchy and dominant powers, did not have much standing in literary works and in the world of literature. Postcolonial African women have often been represented as weak, subaltern, and speechless by western writers, and have even been underrepresented by some postcolonial writers. This book shows how the African woman, who is usually represented in clichéd and stereotyped forms, is depicted a versatile way in Ngugi and Adichie’s novels.

As the dominant narrative forms in the age of media convergence, films and games call for a transmedial perspective in narratology. Games allow a participatory reception of the story, bringing the transgression of the ontological boundary between the narrated world and the world of the recipient into focus. These diverse transgressions - medial and ontological - are the subject of this transdisciplinary compendium, which covers the subject in an interdisciplinary way from various perspectives: game studies and media studies, but also sociology and psychology, to take into account the great influence of storytelling on social discourses and human behavior.

In an era characterized by globalization, technological advancements, and increased interconnectedness, the need to foster understanding and appreciation of diverse cultures has become more critical than ever. The field of intercultural humanities seeks to bridge the gaps between different societies, languages, traditions, and belief systems, promoting dialogue, empathy, and mutual respect. This conference served as a platform for the exchange of ideas, theories, methodologies, and practical approaches that contribute to the advancement of intercultural humanities. It aimed to delve into various disciplines within the humanities, including literature, linguistics, and education while examining how they intersect and interact with diverse cultural contexts.

In this accessible combination of post-colonial theory, feminism and pedagogy, the author advocates using subversive and contemporary artistic representations of women to remodel traditional stereotypes in education. It is in this key sector that values and norms are molded and prejudice kept at bay, yet the legacy of colonialism continues to pervade official education received in classrooms as well as ‘unofficial’ education ingested via popular culture and the media. The result is a variety of distorted images of women and gender in which women appear as two-dimensional stereotypes. The text analyzes both current and historical colonial representations of women in a pedagogical context. In doing so, it seeks to recast our conception of what ‘difference’ is, challenging historical, patriarchal gender relations with their stereotypical representations that continue to marginalize minority populations in the first world and billions of women elsewhere. These distorted images, the book argues, can be subverted using the semiology provided by postcolonialism and transnational feminism and the work of contemporary artists who rethink and recontextualize the visual codes of colonialism. These resistive images, created by women who challenge and subvert patriarchal modes of representation, can be used to create educational environments that provide an alternative view of women of non-western origin.

Academic Paper from the year 2018 in the subject Literature - Africa, grade: 1, University of Malta (English Culture), course: The Postcolonial Novel 1: African, language: English, abstract: The three questions this paper tries to answer are to what degree the African women in both novels are or are not being dominated, what plays a role in this power-play and whether there is a significant difference between the depiction of women in the two novels, as they are set in two different African regions, Kenya and Zimbabwe. In the first section, the historical background of both plots is outlined, followed by an analysis of selected female characters of both novels. In the last section, conclusions will be drawn comparing both novels, its characters, its authors and the respective history. Men used to, and still do to some extent, dominate the literary sphere in Africa; therefore, the depiction of women was mostly that of a dutiful wife and mother. When this one-sided standard wasn’t met, the rebellious protagonist was shown to ‘suffer the tragic fate of the non-conformist’ , which comprehended dying or being outcasted. It might seem harmless at first, as it is ‘just’ literature, but it is important to consider the influential power it has on people’s perception of the world. For this reason, it became more and more important to analyze the representation of women in books and change it to a more positive picture. As the canon of female African writers started to grow, so did the multiplicity of different depictions of female characters. This change of view was not only to be found in female authors, but in male as well. Both Ngugi wa Thiong'o’s A "Grain of Wheat" and Tsitsi Dangarembga’s "Nervous Conditions" depict different types of women and their dual struggle in finding their own female identity against both patriarchy and the colonizer.

Postcolonial Hauntologies is an interdisciplinary and comparative analysis of critical, literary, visual, and performance texts by women from different parts of Africa. While contemporary critical thought and feminist theory have largely integrated the sexual female body into their disciplines, colonial representations of African women’s sexuality “haunt” contemporary postcolonial African scholarship which—by maintaining a culture of avoidance about women’s sexuality—generates a discursive conscription that ultimately holds the female body hostage. Ayo A. Coly employs the concept of “hauntology” and “ghostly matters” to formulate an explicative framework in which to examine postcolonial silences surrounding the African female body as well as a theoretical framework for discerning the elusive and cautious presences of female sexuality in the texts of African women. In illuminating the pervasive silence about the sexual female body in postcolonial African scholarship, Postcolonial Hauntologies challenges hostile responses to critical and artistic voices that suggest the African female body represents sacred ideological-discursive ground on which one treads carefully, if at all. Coly demonstrates how “ghosts” from the colonial past are countered by discursive engagements with explicit representations of women’s sexuality and bodies that emphasize African women’s power and autonomy.

The articles investigate representations in literature, both by the colonizers and colonized. Many deal with the effect the dominant culture had on the self image of native inhabitants. They cover areas on all continents that were colonized by European countries.