Bring fact-checked results to the top of your browser search. The influence of oral traditions on modern writers Themes in the literary traditions of contemporary Africa are worked out frequently within the strictures laid down by the imported religions Christianity and Islam and within the struggle between traditional and modern, between rural and newly urban, between genders, and between generations. The oral tradition is clearly evident in the popular literature of the marketplace and the major urban centres, created by literary storytellers who are manipulating the original materials much as oral storytellers do, at the same time remaining faithful to the tradition. Some of the early writers sharpened their writing abilities by translating works into African languages; others collected oral tradition; most experienced their apprenticeships in one way or another within the contexts of living oral traditions.
Click the character infographic to download. Okonkwo is a self-made, well-respected member of the Umuofia clan. Though outwardly stern and powerful, much of his life is dictated by internal fear.
His greatest, overwhelming worry is that he will become like his father — lazy, unable to support his family, and cowardly. This means that Okonkwo attempts to work hard, provide for his family materially, be brave, and be masculine in every possible way.
But he also tends toward emotions that are extreme, and his fear motivates him to take actions which are often unnecessary and ultimately destructive.
His fear of being feminine leads him to assist in the murder of Ikemefuna whom he loved, to beat his wives, be emotionally distant from his children, and to disown his oldest son. His three wives are there to serve him his food and raise his children. By seeing them as his subjects, Okonkwo can justify his brutal behavior against them.
He can beat his wives without guilt. He can threaten Ekwefi with a gun when she talks back. Though he does have qualms about killing Ikemefuna, they are not qualms about whether or not he has the right to do it.
Okonkwo feels complete ownership over his family. There is, however, the problem of love and intimacy.
Okonkwo rarely shows these aspects of himself since he considers emotion soft and feminine — but the emotions are there nonetheless. But, whenever there is a clash between showing true emotion and maintaining the show of his strength, Okonkwo will always go with the latter.
Whenever he breaks them — either deliberately through a loss of temper or inadvertently as in shooting the boy — he never questions the punishments brought upon him. Okonkwo abides by his punishment whether or not he thinks they are fair. This is one way of maintaining his honor and reputation.
He reads the laws literally, unlike his father who bent the rules and tried to circumvent certain aspects of the law. Thus we come to one of the central conflicts in the novel: His final act of suicide is the ultimate demonstration of things falling apart because it is the first and only time that Okonkwo purposefully and calculatedly breaks the clan laws.common core state stanDarDs For english Language arts & Literacy in History/social studies, science, and technical subjects appendix B: text exemplars and.
Many conflicts occur in Things Fall Apart including: The wrestling between Okonkwo and Amalinze the Cat. The conflict between Okonkwo and his father's philosophy. There are a number of conflicts in the story, one of the main ones is the desire that Okonkwo feels to overcome or defeat the legacy of his lazy father Unoka.
Unoka was a lazy man who liked only. Okonkwo S Internal And External Conflict Things Fall Apart. Things Fall Apart: A Critical Analysis Things Fall Apart () is a fictional novel by Chinua Achebe that examines the life the Igbo tribe living in a rural village called Umuofia in Nigeria during the early 19th century.
The central values of the novel revolve around status, virtues, power, and traditions that often determine the.
African literature - The influence of oral traditions on modern writers: Themes in the literary traditions of contemporary Africa are worked out frequently within the strictures laid down by the imported religions Christianity and Islam and within the struggle between traditional and modern, between rural and newly urban, between genders, and between generations.
Thus we come to one of the central conflicts in the novel: the divide between Okonkwo’s personal pride and the actions forced on him by the external social laws of the Umuofia.
His final act of suicide is the ultimate demonstration of things falling apart because it is the first and only time that Okonkwo purposefully and calculatedly breaks.