아프리카 근대 여성의 탄생 —응구기 와 시옹오의 『십자가 위의 악마』
Birth of the Modern Woman in Africa: Ngugi wa Thiong’o’s Devil on the Cross
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This story is presented as an oral narration by a self-declared traditional artist who also gives himself the grand titles “Gicaandi player” and “Prophet of Justice”. In his first Kikuyu novel, Ngugi creates a modern woman named Jaciinta Wariinga who is very different from his earlier novels’ traditional female characters. In various ways, Wariinga is symbolic of the enslaved. Ngugi reveals major problems of the society and analyzes the process of her reformation. The author wants Wariinga to speak for Kikuyu readers by claiming that women’s restoration promotes the social development and that workers and peasants must not be oppressed any longer. Ngugi’s representation of Wariinga is a fundamental plea that women in modern Africa have a right to respect and equality. Wariinga is a “resistance heroine” and she overcomes the challenges which confront her. Her experience at the Devil’s Feast changes her from a spectator to a player in the struggle. Wariinga’s passivity gives way to a conscious initiator and facilitator of change. So, two years after the Devil’s Feast at Ilmorog, we encounter the new, dynamic, and self-reliant Wariinga who has become a beautiful and fine looking woman.
Abstract
This story is presented as an oral narration by a self-declared traditional artist who also gives himself the grand titles “Gicaandi player” and “Prophet of Justice”. In his first Kikuyu novel, Ngugi creates a modern woman named Jaciinta Wariinga who is very different from his earlier novels’ traditional female characters. In various ways, Wariinga is symbolic of the enslaved. Ngugi reveals major problems of the society and analyzes the process of her reformation. The author wants Wariinga to speak for Kikuyu readers by claiming that women’s restoration promotes the social development and that workers and peasants must not be oppressed any longer. Ngugi’s representation of Wariinga is a fundamental plea that women in modern Africa have a right to respect and equality. Wariinga is a “resistance heroine” and she overcomes the challenges which confront her. Her experience at the Devil’s Feast changes her from a spectator to a player in the struggle. Wariinga’s passivity gives way to a conscious initiator and facilitator of change. So, two years after the Devil’s Feast at Ilmorog, we encounter the new, dynamic, and self-reliant Wariinga who has become a beautiful and fine looking woman.
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