“Yahoo-yahoos and Twitter kweens”: Internet technologies in contemporary Nigerian fiction

IF 0.2 3区 文学 0 LITERATURE Journal of Postcolonial Writing Pub Date : 2023-08-01 DOI:10.1080/17449855.2023.2233709
P. Cartwright
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引用次数: 0

Abstract

ABSTRACT This article examines the representation of Internet technologies in two recent Nigerian comic novels, Adaobi Tricia Nwaubani’s (2009) I Do Not Come to You by Chance and A. Igoni Barrett’s (2015) Blackass. Departing from founding mythologies of the Internet as a space of global assimilation and extending beyond extant postcolonial concerns with technological exclusion or malfunction, the article demonstrates how Internet technologies facilitate forms of global subjectification that amplify rather than diminish national consciousness. Reading Nwaubani’s representations of “419” email fraud alongside Barrett’s experimental approach to Twitter form, the article shows how both novels critically reflect upon the globalizing potentials and limitations of Internet technologies from the perspective of a “post-development” Nigeria. It argues that these novels depict characters dialectically engaging with national and global contexts – mobilizing national stereotypes to address global audiences – yet, in turn, redeploying global capital (financial and cultural) to achieve more localized forms of status.
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来源期刊
CiteScore
0.80
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0.00%
发文量
73
期刊介绍: The Journal of Postcolonial Writing is an academic journal devoted to the study of literary and cultural texts produced in various postcolonial locations around the world. It explores the interface between postcolonial writing, postcolonial and related critical theories, and the economic, political and cultural forces that shape contemporary global developments. In addition to criticism focused on literary fiction, drama and poetry, we publish theoretically-informed articles on a variety of genres and media, including film, performance and other cultural practices, which address issues of relevance to postcolonial studies. In particular we seek to promote diasporic voices, as well as creative and critical texts from various national or global margins.
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