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Now showing 1 - 5 of 14

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Mchakato wa Uandishi Bunifu kama Unavyoakisiwa katika Riwaya za Kisasa za K.W. Wamitila
(Mwanga wa Lugha, 6(2), 15-26., 2021) Janice M. Mutua; Issa Mwamzandi; AbdulRahim Taib
Makala hayaimejibana katika ufafanuzi wa upekee wa mtunzi wa riwaya za Kiswahili za kisasa pamoja na changamoto anazopitia mikononi mwa wahariri na wachapishaji kama inavyopendekezwa katika riwaya zenyewe. Aidha, makala imependekeza njia za kuboresha na kukuza riwaya mpya za Kiswahili. Madhumuni yake ni kufafanua mchakato mzima wa uandishi wa riwaya mpya kwa kuwaangazia wahusika watatu muhimu yaani mwandishi, msomaji na mchapishaji. Nadharia ya usasaleo imeuongoza mjadala huu katika ukusanyaji na uchanganuzi wa data. Mintarafu ya nadharia, mtunzi wa kazi bunifu ana uhuru wa kuandika jinsi apendavyo, hailazimu kwamba riwaya zifuate utaratibu mahususi. Mkabala wa uchanganuzi wa yaliyomo ulitumika kuchanganua data iliyohusiana na swala zima la ubunifu na uchapishaji wa riwaya mpya ya Kiswahili. Data ilichanganuliwa kwa kuangazia maudhui na vipengele vya mbinu za kimajaribio kama vile dayolojia, urejeleomatini, simulizi fupi na taashira. Riwaya za Mwandishi, Msomaji na Mchapishajii na Musaleo! zimetumika kuangazia mchakato huu. Matokeo yamewasilishwa kwa njia ya maelezo. Imebainika kuwa sura na ubunifu wa riwaya mpya ni zao la usomi. Ili kuelewa ujumbe katika riwaya za kisasa ni muhimu kwa ‘mhariri’ kufanya utafiti wa kina kabla ya kutoa mapendekezo yake kwa mchapishaji. Aidha, inailazimu hadhira kuwa na ufahamu wa mambo mengi kiada ili kung’amua yanayowasilishwa katika riwaya za kisasa.
Changamoto Zinazokabili Umiliki na Matumizi ya Ardhi Barani Afrika: Udurusu wa Riwaya Tatu za Karne ya 21
(Mwanga wa Lugha, 2022) Arthur K. Muhia; Issa Y. Mwamzandi
Makala haya yanachanganua suala la changamoto zinazokabili umiliki na matumizi ya ardhi barani Afrika kama lilivyosawiriwa katika riwaya za karne ya ishirini na moja, kwa kurejelea riwaya za Chozi la Heri (2014), Msimu wa Vipepeo (2009) na Nakuruto (2006). Ardhi ni miongoni mwa rasilimali muhimu katika maisha ya binadamu hasa katika uzalishaji mali. Huwa chanzo cha mahitaji ya kimsingi kama vile chakula na makaazi. Aidha, uwezo wa kumiliki ardhi huwa ni sifa kuu ya maendeleo na mabadiliko mengi katika jamii ambayo yamewahi kushuhudiwa duniani. Tungo za kifasihi tulizoziteua kimakusudi zilifanikisha utafiti huu kwa sababu fasihi huwa imefungamanishwa kibunifu na maisha halisi ya binadamu. Sifa kuu ya riwaya hizi ni kwamba zimeliangazia suala la ardhi kwa mapana. Isitoshe, zimetungwa katika kipindi cha karne ya ishirini na moja ambacho utandawazi umeenea na kuimarika barani Afrika. Ili kufanikisha udurusu huu, tuliligawa suala letu la utafiti katika sehemu tatu kuu: kipindi cha kabla ya ukoloni, kipindi cha ukoloni na kipindi cha utandawazi. Uchanganuzi matini huu wa kimaktaba uliongozwa na nadharia ya Baada-ukoloni. Umuhimu wa makala haya unatarajiwa kuwa pamoja na kudhihirisha mitazamo ya watunzi mbalimbali kuhusu changamoto katika umiliki na matumizi ya ardhi barani Afrika; pamoja na mapendekezo ya namna za kuzitatua. Tunatarajia kutoa mchango wa kitaaluma kuhusiana na suala hili hivyo kuwafaa watafiti wa baadaye na watunga sera zinazohusiana na suala la umiliki na matumizi ya ardhi barani Afrika.
Prototypes of Teenagers and Construction of Identity in Adolescents through Film: A Study of Tahidi High – A Kenyan Television Drama
(Nairobi Journal of Humanities and Social Sciences, 2017) Robert Wesonga
Identity is the recognition of one’s potential and qualities as an individual, especially in relation to social context. Identities are the points of identification, the unstable points of identification or suture, which are made, within the discourses of history and culture. Not an essence but a positioning, identities are quite complex. Film being a crucial mode for edutainment is an apt avenue for gaining knowledge on a people’s sense of identity. Tahidi High is a Kenyan TV drama whose main focus is the teenage high-schooler. In enunciating the dramas of teenagers, the TV drama inexorably exemplifies the adolescents’ struggles to apprehend themselves and their surroundings. Veritably, the drama suggests that we might think of teenage identities as framed by two axes or vectors, simultaneously operative; the vector of similarity and continuity; and the vector of difference and rupture. Subsequently, this paper examines the portrayal of the teenage student characters in Tahidi High with a view to look at how the socio-emotional stage of teenage – identity crisis - and milieu has contributed to the representation of the teenagers and hanker to understand themselves and environment. Basing upon the theoretical perspectives of psychologist Erik Erikson, this paper examines the dilemmas of the student teenagers. The quest for affiliation, the fear of alienation, responsibility and role taking, naïve idealism and role modelling are some of the issues attendant to teenage identity crisis that have been discussed.
Same Story, Different Narratives: A Postcolonial Reading of Literary Texts and Corresponding Film Adaptations
(Nairobi Journal of Humanities and Social Sciences, 2017-11) Robert Wesonga
The cinematic narrative and the story of its literary antecedent have nourished upon each other since the beginnings of cinema in the late 19th Century. As a result of this adaptation of film from literature, it is understandable that the film medium and the literary one should present stories using different systems of signs and symbols. This situation however, has not meant that the text and its offspring film are diametrically opposed, either with regard to meaning, or technique. As such, the two have been proven to have an intertextual relationship. This paper is a reading on intertextuality that endeavours to discuss the significant ways in which the adapted film and the antecedent literary text divert and converge in respect of meaning as each media strives to express meaning using the system of signs and techniques within its province. In essence, the paper seeks to answer the question: How does the adapted film; and the source literary text deliver the same story, or a different story, either similarly or differently? At the centre of this inquiry is an analysis of the cinematic and literary presentation of the question of colonialism in Africa. The paper delves into this matter in respect of three films, Out of Africa (1986), The Ghost and the Darkness (1996) and Things Fall Apart (1987) and their respective literary antecedents.
Things Fall Apart back to the Owners: Adapting Achebe’s Text to Film for the Igbo Populace
(Nairobi Journal of Humanities and Social Sciences, 2017) Robert Wesonga; John Mugubi
At the beginning of scholarship on film adaptation, critics dismissed adapted films as watered down versions of their literary antecedents. Scholars such as Woof (1950) argued that the films were reductive of the supremacy of the texts, and that films depended on the popularity of literary texts in order to gain credibility. This fidelitybetrayal aesthetic would see adapted films reviled and disregarded as fodder only fit for the lower classes of the society. In further arguments that were logocentric (aiming to vouch for the supremacy of the text and dismiss the dependence of the adapted film), films adapted from literature were judged to be less intellectually stimulating, and born out of a lack of ingenuity on the part of the filmmakers to create new works of art, completely autonomous in their right (Cartmell, et al. (2008). Using the case of Things Fall Apart (the literary text and the adapted film) this paper, however, seeks to counter this notion and rationalize that in adapting the film from Achebe’s text, the filmmaker succeeds in bringing the story of Okonkwo and Umuofia back home – to the people among whom it originally happened. The main argument in this paper is hinged on the understanding that while the text is discriminative, allowing only the schooled members of the Igbo population to read their story, the film is more accommodating. This is made possible because the cinematic medium has the ability to reach a larger section of the Igbo people who do not have a reading chance or interpretive ability to interact with the narrative in the literary form and the meanings thereof.