Conclusion
In this paper we have tried to show the structural and semantic functions of orature in the novel under consideration. We showed how the myths of the Pillar of Fire and Pillar of Water, as well as the missing horse motif, provide the semantic base on which the novel rests. The three motifs constitute the thesis, antithesis and synthesis of the narrative argument ofAnthills of the Savannah. The basic question asked by the novel is one of very topical urgency in the country's (i.e. Nigeria's), nay Africa's, chequered political history and the “solution” proffered at the end of the novel suggests that this must be taken as the author's lastest contribution to the burning issues of violence, inhumanity, injustice and instability in our policy. And for the first time in Achebe's fictional world woman unequivacally takes the centre stage but this, in our view, must not be taken as the replacement of one domination by another domination, of one polarity by another polarity; rather the author appears to affirm that ultimate salvation lies beyond polarities, in the fusion of opposing forces, in short in co-operation and team-work.
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Literatur
J. Kristeva,Le Texte du Roman: approche sémiotique d'une structure discursive transformationnelle (La Haye-Paris: Mouton, 1970), pp. 142–143.
The first really serious study on oral literature may be said to be V. Propp'sMorphology of the Folktale, translated from Russian in 1958, although the study was still within the overall context of book culture. See Also S. Anozie,Structural models and African poetics (London: Routledge & Kegan Paul, 1981), esp. p. 252 sqq.
M. K. Asante,The Afrocentric Idea (Philadelphia University Press, 1987), passim.
J. Kristeva,op. cit. Le Texte du Roman: approche sémiotique d'une structure discursive transformationnelle (La Haye-Paris: Mouton, 1970), pp. 142–143. She even uses the term “textual permutation” to describe this practice. See Also M. Arrivé, “Pour une théorie des textes polysiotopiques” inLangages 31 p. 61, where the author says that access to the meaning of a text often lies in the intertext, rarely just in the text itself.
See O. Taiwo,Culture and the nigerian novel (London: Macmillan, 1976) and R. N. Egudu, “Achebe and the Igbo Natrative Tradition” in B. Lindfors (ed.)R. A. L. Vol. 12, No. 1 1981.
C. Achebe,Anthills of the Savannah (Ibedan: Heinemann Educ. Books, 1988); all references are to this edition.
See J.-M. Adam & J.-P. Goldstein,Linguistique et Discours littéraire (Paris: Larousse 1976), p. 209 for an interesting analysis of these terms.
SeeAnthills of the Savannah pp. 30–33; p. 127; pp. 209–210.
R. Jakobson,Essais de linguistique générale (Paris: édition de Minuit,, collection “Points”, 1970), p. 6.
J.-M. Adam & J.-P. Goldstein,op. cit., p. 146.
It has been aptly noted that the theme of duality or polarity of male and female principles runs through most of Achebe's works. InThings Fall Apart the female principle “Ani” contends with Okonkwo, the personification of the male ethos; while inArrow of God Ezeulu symbolizes the thrust of naked power which the opposing forces of moderation try to hold in check.Anthills of the Savannah, if our reading is correct, is certainly “new” in the attempt it makes to break away from the vicious circle of polarities.
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Uwajeh, P.N. Orature in literature: Myths as structural elements in Achebe'sAnthills of the Savannah . Neohelicon 19, 297–306 (1992). https://doi.org/10.1007/BF02028624
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DOI: https://doi.org/10.1007/BF02028624