African writing, aesthetics and discursive violence select="/dri:document/dri:meta/dri:pageMeta/dri:metadata[@element='title']/node()"/>

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dc.contributor.author Oyegoke, Lekan
dc.date.accessioned 2018-11-14T05:56:30Z
dc.date.available 2018-11-14T05:56:30Z
dc.date.issued 2017
dc.identifier.citation Oyegoke, L. (2017). African writing, aesthetics and discursive violence. JULACE: Journal of University of Namibia Language Centre, 2(1), 2-15. en_US
dc.identifier.uri http://hdl.handle.net/11070/2399
dc.description.abstract As a signifier “African writing” is suitably pluralistic in its potential for denotation and connotation and delimitation of thematic concern. Wearing an ambiguous qualifier such as “African” the contestable positions taken for granted for this cultural tag – which had camouflaged as incontrovertible – are mediated by the pluralism of the nominal which it qualifies. The erstwhile monolith and subject/object of literary/critical discourse fissures viscerally agreeably into fluid ethnic, linguistic and cultural heterogeneity with the result that both the literature and the study based on this literature transform into semantically elastic nondescript items in a state of unremitting variability. Which condition seems compatible with postmodernist insistence of organic connections and disconnections between the system of sound and that of reality according to Saussurean linguistics and Barthesian associative distinction between signifier, signified and sign. Calibrated synchrony deepens the complexity of a subject/concept already detached from signifier, a changing and changeable signified that is stratified and is multilingual multiracial multicultural. en_US
dc.language.iso en en_US
dc.publisher University of Namibia en_US
dc.subject Aesthetics en_US
dc.subject Discursive violence en_US
dc.title African writing, aesthetics and discursive violence en_US
dc.type Article en_US


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