List of Titles

Authors: Fọlárànmí, Stephen , Ijisakin, Eyitayo Tolulope
Date: 2019
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/146132 , vital:38498 , DOI https://doi.org/10.2478/mjss-2019-0054
Description: Evidence abounds of the synergy that exists between literature and visual arts in Africa. Illustrations are known to have given more meaning to books, while the text plays the role of the storyteller, the illustration acts out the story or scene on the pages of the book. Illustrations also make readership very easy and appealing to children and the uneducated people in our local communities. In recent times however, studies have shown a sharp decline in the inclusion of very good, insightful and inspiring illustrations into African literary text. When included, it is often poor and limited to the cover page of the book. This paper examines the merits derivable from the inclusion of visual arts into African literature as well as the reason for its decline with a view to suggesting how it can be used to reinvent African literature. It is expected that by so doing, publishers and authors will see the need and importance of using more illustrations in their books. This will, in turn, generate more interest in the culture of reading among the youths of the 21st century as well as the development of literature directed towards children and the unread.
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Date Issued: 2019

Authors: Ijisakin, Eyitayo Tolulope
Date: 2019
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/146101 , vital:38495 , https://www.muse.jhu.edu/article/702008
Description: In The Art of Life in South Africa, Daniel Magaziner examines the history of art education under apartheid in South Africa. The book focuses on Ndaleni, an art school for black South Africans, and considers the travails and triumphs of its artists and their teachers under white supremacy. At Ndaleni, students and teachers were bound together in learning “the art of life”; due to lack of funds, they improvised materials for artistic production. While the school existed, between the 1950s and 1980s, about 1,000 students graduated; about 2,000 could not be admitted due to constraints of space. This shows how Ndaleni appealed to many black South Africans as one of the few places they could develop their art. According to the Bantu Education Act of 1953 (p. 3), the purpose of the school was to preserve white supremacy, the segregation between African and European education—what Oguibe (2004) refers to as “Play me the other.” The book is organized into seven chapters, with a prologue, an epilogue, and endnotes.
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Date Issued: 2019

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