 the body of traditional oral and written

literatures in Afro-Asiatic and African

languages together with works written by
Africans in European languages.
 Traditional written literature, which is limited
to a smaller geographic area than is oral
literature, is most characteristic of those sub-
Saharan cultures that have participated in the
cultures of the Mediterranean
 Oral literature includes stories, dramas, riddles,
histories, myths, songs, proverbs, and other
expressions, is frequently employed to educate
and entertain children.
 Oral histories, myths, and proverbs
additionally serve to remind whole
communities of their ancestors’ heroic deeds,
their past, and the precedents for their customs
and traditions.
 The Interesting Narrative o the Life and
Adventures of Olaudah Equiano or Gustavus
Vassa, the African (1789).
- Thomas Mafolo, wrote Chaka (1931)
 Since the early 19th century writers from
Western Africa have used newspapers to the
air their views.
 Several founded newspaper that served as for
expressing nascent feelings.
 French-speaking Africans in France, led by
Léopold Senghor , were active in
the négritude movement from the 1930s, along
with Léon Damas and Aimé Césaire , French
speakers from French Guiana and Martinique.
Their poetry not only denounced colonialism, it
proudly asserted the validity of the cultures
that the colonials had tried to crush.
 After World War II, as Africans began demanding their
independence, more African writers were published.
Such writers as, in western Africa, Wole Soyinka ,
Chinua Achebe , Ousmane Sembene , Kofi Awooner,
Agostinho Neto , Tchicaya u tam'si, Camera Laye,
Mongo Beti, Ben Okri, and Ferdinand Oyono and, in
eastern Africa, Ngugi wa Thiong'o , Okot p'Bitek , and
Jacques Rabémananjara produced poetry, short stories,
novels, essays, and plays. All were writing in European
languages, and often they shared the same themes: the
clash between indigenous and colonial cultures,
condemnation of European subjugation, pride in the
African past, and hope for the continent's independent
future.
 Find me in the Globe
 Mechanics:

answer me and then find me

in the globe.
 I am a two word. My first letter in
the first word is in the 19th of the
Alphabet and the first letter of my
second word is in the second letter
of our teacher in 21st ‘s name.
31 24 12 54 11

Hint:
1 2 3 4 5
1 A B C D E
2 F G H I J/K
3 L M N O P
4 Q R S T U
5 V W X Y Z
 I am in a movie that the characters are
 ALEX THE LION
 MARTY THE ZEBRA
 GLORIA THE HIPPO
 MELMAN THE GIRAFFE
 THE PENGUINS
 KING JULIEN
 MAURICE
 MORT
 MASON AND PHIL
 NANA
 THE FOSSA
 South African literature, the body of writings
in either Afrikaans or English produced in
what is now the Republic of South Africa. The
rest of African literature is treated in African
literature.
 South Africa was colonized by Europeans
against the resistance of Africans and was for
some time afterward a battlefield between
Briton and Boer.
 Although South Africa became independent in
1910, the nation’s varied
ethnic constituents have not yet been unified in
a harmonious whole, and the tension arising
from the unequal relations between blacks and
whites is the authentic note of much South
African literature.
 Indigenous South African literature effectively
began in the late 19th century and became
fairly copious in the 20th century.
 Much of the work by persons born in South
Africa was limited in its viewpoint
 The first fictional works to emerge from South
Africa were produced by colonial writers
whose attitude to indigenous South Africans
was, at best, ambivalent, if not outright hostile.
 This is especially true of the writers of
adventure-type stories, in which colonial
heroes are romanticised and the role of black
South Africans was reduced to that of enemy
or servant.
 One such writer, Rider Haggard, wrote many
mythical and adventure stories, beginning in
the early 1880s
 His most famous book is King Solomon’s
Mines (1886), a bestseller in its day (and filmed
several times up to the 1980s). Like subsequent
novels such as Allan Quartermain and She (both
1887), its central character is the hunter Allan
Quartermain, Haggard’s ideal of the colonial
gentleman.
 The twin 20th-century phenomena of
urbanization and apartheid greatly affected the
psychological makeup and thus the literary
expression of English- and Afrikaans-speaking
whites, as well as of indigenous Africans.
 The moral and artistic challenges inherent in
South Africa’s situation stimulated writing up
to a point, but the South African preoccupation
with “race” problems may ultimately have
proven inimical to the creation of an authentic
national literature.
 Madagascar belongs to the African continent
both geographically and owing to the fact that
one part of the original population came from
the continent
 There were later Malayan migrations and the
unification of tribes led to the formation of the
Malagasy nation with its language, Malagasy,
belonging to the Malayan linguistic group.
 A wide range of oral literary traditions have
developed in Madagascar. One of the island's
foremost artistic traditions is its oratory, as
expressed in the forms
of hainteny (poetry), kabary (public discourse)
and ohabolana (proverbs).
 n epic poem exemplifying these traditions,
the Ibonia, has been handed down over the
centuries in several different forms across the
island, and offers insight into the diverse
mythologies and beliefs of traditional Malagasy
communities.
 The concept of poetry in traditional Malagasy oral
literary traditions is inseparable from song, as
demonstrated by the Malagasy words for "poem" -
tononkira and tononkalo - which are formed by
combining tonony (words) with hira/kalo(song)
 The first modern African poet, a Merina
named Jean-Joseph Rabearivelo (1901 or 1903–
1937), gained celebrity for blending surrealist,
romantic and modernist poetic forms with
elements of traditional Malagasy oratory, as well
as his suicide by cyanide in 1937. Rabearivelo was
also among the first to publish historical novels
and wrote Madagascar's only Western-style opera.
 Elie-Charles Abraham (1919– ), poet.
 Georges Andriamanantena (Rado), poet.
 David Jaomanoro (1953– ), poet, short story writer and
playwright.
 Esther Nirina (1932– ), poet.
 Hajasoa Vololona Picard-Ravololonirina (1956– ),
academic, politician and poet.
 Jean-Joseph Rabearivelo (1903–1937), poet and novelist.
 Jacques Rabemanajara (1913– ), poet, playwright and
politician.
 Raymond William Rabemananjara (1913– ), historian
and writer.
 Charlotte Arisoa Rafenomanjato (1938– ), writer and
translator.
 Jean-Luc Raharimanana (1967– ), French-language
writer.
 Elie Rajaonarison (1951–2010), poet, playwright,
translator and photographer.
 Regis Rajemisa-Raolison (1913– ), poet and educator.
 Michele Rakotoson (1948– ), novelist, short story writer
and playwright
 Ny Avana Ramanantoanina, poet.
 Flavien Ranaivo (1914– ), poet and writer.
 Pierre Randrianarisoa, poet.
 Jean Verdi Salomon Razakandraina (Dox), poet,
novelist, playwright, translator and musician
 Libyan literature has historically been very
politicized
 The Libyan literary movement can be traced to
the Italian occupation of the early 20th century.
 Sulaiman al-Barouni, an important figure of the
Libyan resistance to the Italian occupation,
wrote the first book of Libyan poetry as well as
publishing a newspaper called The Muslim Lion
 After the Italian defeat in World War II, the focus
of Libyan literature shifted to the fight for
independence. The 1960s were a tumultuous
decade for Libya, and this is reflected in the works
of Libyan writers.
 Social change, the distribution of oil-wealth and
the Six-Day War were a few of the most discussed
topics.
 As very little Libyan literature has been translated,
few Libyan authors have received much attention
outside of the Arab World. Possibly Libya's best-
known writer, Ibrahim Al-Koni, is all but
unknown outside the Arab-speaking world
 Italian policy of the time was to suppress
indigenous Libyan cultural aspirations -
therefore quelling any publications showing
local literary influence. Perhaps the only
publication of the time that had any Libyan
roots was the Italian financed, Libya al-
Muṣawwar (Illustrated Libya). While beginning
as Italian propaganda, the magazine included
work by Wahbi Bouri, considered the father of
Libyan short stories.
 Libyan poet Khaled Mattawa remarks:
 "Against claims that Libya has a limited body of
literature, classicists may be quick to note that ancient
Greek lyric poet Callimachus and the exquisite prose
stylist Sinesius were Libyan. But students of Libyan
history and literature will note a vast time gap between
those ancient luminaries and the writers of today. [...]
Libya has historically made a limited contribution
to Arab literature". SMany of Aesop's fables have
been classified as part of the 'Libyan tales' genre in
literary tradition although some scholars argue
that the term "Libya" was used to describe works
of Non-Egyptian territories in ancient Greece
 With the withdraw of European forces, a
period of optimism was born ushered in by the
return of educated Libyans who had lived in
exile in Egypt, Syria, and Lebanon. Among the
1950s generation were famed writers Kamel
Maghur, Ahmed Fagih, and Bashir
Hashimi who all wrote with a sense of
optimism reflecting the spirit of independence
 Libyan literature began to bloom in the late 1960s,
with the writings of Sadeq al-Neihum, Khalifa al-
Fakhri, Kamel Maghur (prose), Muhammad al-
Shaltami and Ali al-Regeie (poetry). Many Libyan
writers of the 1960s adhered to nationalist, socialist
and generally progressive views. Some writers also
produced works resenting the entry of American
oil companies as an attack on their country. This
period also simultaneously began to cast
Americans (with their oil companies) and Jews
(because of Israel's foundation in 1948) as outsiders
as well as occasionally in the positive light of
facilitators.
 In 1969, a military coup brought Muammar
Gaddafi to power. In the mid-1970s, the new
government set up a single publishing house,
and authors were required to write in support
of the authorities. Those who refused were
imprisoned, emigrated, or ceased writing.
Authors like Kamel Maghur and Ahmed
Fagih who had dominated the cultural
landscape of the 1950s and 1960s continued to
be the source of most literary production.
 Group 3
 Edmark Dayag
 Julie Ann Diestro
 Jelly Timagos
 Florgielyn Tanguilan
 Mika Sagun
 Ronel Aggarao
 Jerick Pajar