"Creativity as Celebrations of Joy and Pain: David Diop's "Africa" and the Semiotisation of History"

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Nwagbara, A. U.
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The Faculty of Arts University of Lagos
The conjuration of history as a metaphor of creativity in African literary writings represents a seminal reconstruction of the intensity of the collective experiences of the continent, a re-living of its joys and pains, the creative enterprise and the culture of its actualisation in African literary experience 10 u large extent signify the expression and celebration of the joys and pains of its history. The persistent interjection of fact and fiction in African literary imagination represents the reconstruction and re-enactment of the experiences of the African peoples over lime, the revocation of the power of memory as a process of not just probe and recall, bur a journey into the collective subconscious of Africans as a celebration of their history through literature. 111 this sense, creativity is, as well as en/ails a complex and intricate process and activity of recall. the conscious invocation of the collective experiences and encounters of the African peoples with their past, their transformation into the present and a projection into the future. This paper therefore sets out 10 study Diop's "Africa" and its signification of history as celebrated encounter of recall an-d reconstruction of Africa's joy and pain through time and space, it sets out to examine how literary creativity constitutes an avenue through which the collective -experience of a people is expressed as well as being a medium for marking and celebrating the joys and pains of their historical realities and interests, This situation is more relevant in Africa given the close link between history and literature.
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Metaphor of creativity , Communicative investigation , Socio-political experiences and Structural analysis , Linguistic
Nwagbara, A. U. (2010). "Creativity as Celebrations of Joy and Pain: David Diop's "Africa" and the Semiotisation of History", in Lagos Notes and Records, Volume 16, 2010, Faculty of Arts, University of Lagos, Akoka, Lagos, Nigeria. PP 126 - 137