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GENDER DISCOURSE IN TESS ONWUEME’S THE REIGN OF WAZOBIA AND EFUA SUTHERLAND’S THE MARRIAGE OF ANANSEWA

Gender Discourse in Tess Onwueme’s the Reign of Wazobia and Efua Sutherland’s the Marriage of Anansewa

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TABLE OF CONTENTS

Title Page

Declaration

Certification

Dedication

Acknowledgements

Abstract

Table of Contents

CHAPTER ONE

INTRODUCTION

1.1     Background to the Study

1.2     Statement of the Problem

1.3     Purpose of the Study

1.4     Significance of the Study

1.5     Objectives of the Study

1.6     Scope and Limitation of the Study

1.7     Research Methodology

1.8     Bio-Data of Tess Onwueme

1.9     Bio-Data of Efua Theodora Sutherland

 

CHAPTER TWO    

THE REVIEW OF RELATED LITERATURE   

 

CHAPTER THREE

GENDER DISCOURSE IN TESS ONWUEME’S THE REIGN OF WAZAOBIA

3.1     Analysis of the Reign of Wazobia 

3.2     Themes of the Novels

3.3     Style in the Play The Reign of Wazobia  

3.4     Characterization in Tess Onwume’sThe

Reign of Wazobia   

CHAPTER FOUR

GENDER DISCOURSE IN SUTHERLAND’S THE MARRIAGE OF ANANSEWA

4.1    Analysis of Sutherland’s The Marriage Of Anansewa    

4.2     The Theme of Bride Price in Sutherland’s

The Marriage of Anansewa

 

4.3     Sutherland’s Style of Writing The Marriage

of Anansewa

4.4     Characters in Sutherland’s The Marriage

of Anansewa

CHAPTER FIVE

SUMMARY, CONCLUSION AND RECOMMENDATIONS

5.1     Summary

5.2     Conclusion

5.3     Recommendations

Works Cited

 

ABSTRACT

This research work examines gender discourse in Tess Onwueme’s The Reign of Wazobia and Efua Sutherland’s The Marriage of Anansewa. From the analysis of the two plays, African cultural practices are full of diverse cultural practices and this practice affect the female psychologically and emotionally as seen in Sutherland’s The Marriage of Anansewa how her father uses as a means of solving his economic problem through bride price.

According to the author, the consequences of this unhappy marriage, therefore, such practices should be aborted. In the reign of Wazobia, the another uses Wazobia as a female child who fight for the equality of right between the male and female in the Ilaa kingdom because of the violence that impose on them by the men. The study therefore recommended that the efforts by stakeholders such as the government should bring an end of such practices for the betterment of the society.

 

CHAPTER ONE

INTRODUCTION

1.1     Background to the Study

African women literature is of significance for feminist theory because it focuses mainly on issues from women perspectives and experiences such as sexism, gender relationships, marriage, politics, education and employment. In essence, African women literature portrays their quest for emancipation from male domination.

However, all through the years and for several millennial age from the stone age to the modern age, the struggle for dominance and superiority between the two known sexes female and the males gender have never end.

Moreover, Patriarchy adjustment and described by feminist as the conscious maximization and subjugation of the women folks, deploying ideologies, cultural and metaphysics, sexual abuse, gender oppression of all kinds from western Christianity, Islamism, Buddhism and African traditionalism have spoken with one voice in favors of male dominated world.

Ever since, especially through the emergence of democracy. Indeed, the struggle by women to negotiate the vice into mainstream of participation in cultural, economical, social, and vocational and even political aspect of the world’s development.

Therefore, feminine dislocations have become a discourse in our current post-colonial society. This arises out of the tension and challenges in the nineties that characterized feminist works in many parts of the world.

It has its origin from experimental theater groups and various women movement of the sixties and seventies even through the eighties.

Obviously, these issues concerning women have generated to investigate as forth observe that, “the structure of realism and narrative structures which are implicated in religious to patriarchal ideology”. (19).

However, women have created personal loves within themselves. Thus, by bringing out the possibilities and limitations set by structure and culture through writings. However, these days’ women are striving hard to have a say in the society. Gone are those days when you have the women being related to the background?

Nevertheless, the notion of the education of women ending in the kitchen does not apply to the women of this age, as they combine motherhood with their respective careers. Indeed, the women of this age have successfully survived and they are found at the top in the society without any gender issues.

 

GENDER DISCOURSE IN TESS ONWUEME’S THE REIGN OF WAZOBIA AND EFUA SUTHERLAND’S THE MARRIAGE OF ANANSEWA

1.2     Statement of the Problem

African women authors write on themes that effectively relay their message to gender disparities. Contemporary women writers as exemplified by the two texts used in this study, The Reign of Wazobia and The Marriage of Anansewa write on women’s concerns.

Therefore, the study assumes that contemporary African women writers would depict female protagonist such that, within these recurrent gender themes, they reflect the changing status in current political, economic and social spheres.

 

1.3     Purpose of the Study

The aim of the study is to critically examine gender discourse in Nigerian society in Tess Onweme’s The Reign of Wazobia and Efua Southerland’s The Marriage of Anansewa. The study will also examine feminism and its aims in the society.

 

1.4     Significance of the Study

Without a doubt, the works of Tess Onweme’s and The Reign of Wazobia will be beneficial to students of English and literary studies. Thus, by exposing the problems of African female writer on gender issues.

The study will also see how cultural practice such as forced marriages, early marriages, female marginalization have been retrogressive to the feminine gender in Nigeria that has situated women as mere shadows of themselves in their immediate society.

 

1.5     Objectives of the Study

          The following objectives are as follows:

i         to examine the gender discourse in Nigerian society under the selected novels in the study;

ii        to identify critically the various ways portrayed by the author to portray the effects of cultural practices on African women;

iii       to examine the major traditional and cultural practices without blinking an eyelid in  a society where women and children are excluded from important discussions.

 

1.6     Scope and Limitation of the Study

The scope of this study is be limited to Tess Onweme’s The Reign of Wazobia and Efua Southerland The Marriage of Anansewa. The study will also extend to other areas as a result of the findings.

 

1.7     Research Methodology

The researcher uses the texts The Marriage of Anansewa and The Reign of Wazobia as a primary source, materials from library will serve as the secondary sources, for more information.

 

GENDER DISCOURSE IN TESS ONWUEME’S THE REIGN OF WAZOBIA AND EFUA SUTHERLAND’S THE MARRIAGE OF ANANSEWA

1.8     Bio-Data of Tess Onwueme

Osenye Tess Onwueme was born on 8 September, 1955. She is a Nigerian playwright scholar and a poet. She was born in present day Delta State to the family of Chief Akaeke and Maria Ezish; she attended Mary Mount Secondary School.

After her secondary education, she got married and bore five children. However, during that time, she attended University of Ife for Bachelor and masters degree in education. Without a doubt, she got her Phd in the University of Benin studying African drama. She is also a professor at the University of Wisconsin-Egu Claire in 1985. In brief, she won the best prize from the association of Nigeria authors.

Tess Onwueme’s plats are: A Hen too soon (1984), The Broken Calabash (1985), Ban Empty Barn (1986), The Artist Homecoming (1986), Cattle Eglect Versus NanaCrime Patrol Unit” (1988), Major for Campus (1988), Go Tell it to the Women (1992), Shakara: The Dance Hall Queen (2000), Then she said it (2000), and The Missing Face (2000).

Therefore, the play published between 1984 and 2000 relay feminist and womanist concerns in drama using the African sixtieth and the Black Diaspora as crucial background in her book.

 

1.9     Bio-Data of Efua Theodora Sutherland

She was born on 27 June, 1924 and died 2 January, 1996 at the age of 71 years. She was a Ghanaian playwright, director, children’s author, poet and dramatist. Her best works include Foriwa (1962), Edufa (1967) and The Marriage of ANansewa (1975). Certainly, she founded the Ghana Drama studio, the Ghana society writers, the Ghana experimental theatre and a community project called the Kodzidan (story House).

Moreover, as the earliest Ghanaian playwright, director and a popular broadcaster. She was an influential figure in the establishment of modern Ghanaian theatre, and helped to establish the study of African performance traditions at University level.

Efua was also a pioneering publisher, establishing the company Afram publications in the 1970s. She studies teaching at St Monica’s School and Training College Mampony, Cape Coast, Gold Cost (now Ghana). She then went to England to continue her education at Homerton College, Cambridge University, one of the first African women to study there and at the school of oriental and African studies at the University of London.

Returning from Ghana in 1951, she taught first at Fijoi Secondary school at Sekondi, then at St. Monica’s School 1951-1954. Furthermore, in 1954, she married to Bill Sutherland, an African American and Pan. Africanist who in 1953 had moved to Ghana (they would have three children; educationalist Esi Sutherland Addy, architect Ralph Sutherland, and Lawyer Awowi Sutherland Philips).

Joselyn Nya

My Name is Joselyn Nya A Publisher in Project Boss Team. I'm a Nigerian I'm a graduate/Educational Researcher. Project Boss Team. We are the best for Project materials and project writing services. Email: admin@projectboss.com.ng

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