In any system of oppression, the oppressed, once they realize that their treatment is a form of oppression, often have the desire to resist. This resistance, sometimes exceptionally dangerous, often fought by popular opinion and by those who have not recognized their own oppression, can take several different forms. Few can deny that writing remains one of the most influential forms of resistance, words capable of breaking down the barriers that divide, a form of education that speaks to the masses. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"? Get an original essay In several distinguished African texts such as Chimamanda Ngozi Adichie's Purple Hibiscus and Chinua Achebe's Things Fall Apart, women demonstrate a exceptional know-how and spirit to subvert traditional gender roles and circumvent systems of oppression established by patriarchal norms. This circumvention occurs not only in the text itself, exhibited by strong characters such as Aunty Ifeoma in Purple Hibiscus and Ezinma in Things Fall Apart, but also in the techniques that the authors use to tell their stories, granting a special attention to narration and characterization. The discussion of female subversion and strength, particularly in the context of African literature and culture, proves exceptionally timely, especially amid American perceptions and misunderstandings regarding African culture. Although we cannot deny the existence of violence against women and a deeply rooted patriarchal structure in some African societies, we rarely consider the ingenuity of women in circumventing these structures and rebelling when this is considered necessary and appropriate. Some critics have praised strong women as they gain more agency and rise through the ranks within many different career fields, while others have difficulty coping with these changes, including the delegation of responsibilities family relationships between the sexes. Professor Oseni Taiwo Afisi praises traditional African culture for its heavy reliance on the principle of equality – compartmentalizing tasks according to the strengths of each gender without hierarchy – while demonizing women as empowered in its article “Power and femininity in Africa: an introductory assessment”. ". He asserts that these women, by choosing to distance themselves from what he sees as family obligations to pursue careers outside the domestic sphere, endanger morality. He attributes lapses in morality, as evidenced by "bigotry in our schools, corruption in every area of ​​our lives, and voter fraud in our political system," to the absence of a strong family structure in which woman assumes domestic responsibilities (Afisi 236). While Afisi praises the magic of femininity, it seems that he somewhat romanticizes the role of women in traditional African society for his own intellectual and argumentative gain. It strives to commend women who have become political leaders like Africa's first female president Ellen Johnson-Sirleaf of Liberia and economic leaders such as "general managers of banks, insurance companies, and also directors of companies general public", but criticizes these women for not properly fulfilling their roles as wives and mothers. Perhaps his most problematic argument comes from the concept that equality had been achieved in Africa before thecolonial powers do not influence the nation. He argues that due to colonialism, women were placed on a lower rung to give way to capitalism, globalization, the need for power, superiority and the "compartmentalization of roles and responsibilities to which values ​​are attached different” (Afisi 234). He emphasizes that women now occupy passive roles due to colonization: girls are not educated because they risk becoming child brides, domestic violence is endemic and women have very little parental money. While colonial powers certainly played a role in deepening this gender divide, as we see in works such as Chimamanda Ngozi Adichie's Purple Hibiscus with the relationship between Eugene and Beatrice, it existed before the emergence of colonial powers. The beginning of Chinua Achebe's Things Fall Apart is set before colonial intervention, showing an Igbo society before European influence and then during its introduction. In this play, there is always oppression and violence against women, specifically related to a type of toxic masculinity represented by the main character Okonkwo. The preference of masculinity over femininity within this society is not only manifested through Okonkwo's violence against his wives, but also through the use of the feminine as an insult and the gender of particular cultures. Yams are often described as a male crop in the text, signifying not only their hardiness and the strength needed to harvest the vegetable, but also the economic importance of the vegetable to society. Legumes are described as feminine because they are complementary, easy to harvest, and economically insignificant compared to yams. Afisi also works to defend perhaps one of the most harmful aspects of the patriarchal family structure in African culture – polygamy – by insisting that polygamy remains the best structure for “achieving social stability and economic of the family” in a culture where on average more women are born than men (Afisi 231). He uses a quote from B. Dobson to support his argument that women "may otherwise never enjoy the status and advantages that come with becoming a child-bearing mother" (Afisi 232). The problem is the lack of choice within this arrangement. While some women would benefit from greater economic stability and wealth in exchange for raising their children, other women might take a different path if given the opportunity. Women, within this idealistic traditional society presented by Afisi, still do not have the same rights because they do not have the same number of choices as men and are always confined to a specific path instead of have the opportunity to explore different paths. like Afisi promoting a return to traditional values, even though several times in his article he identifies some of these values ​​as oppressive towards the female sex, we can begin to understand the importance of women writing about women (as well as men ). writing well-developed female characters) has become in our modern times. Without catalogs of lived experiences, the complexities of womanhood can be lost, especially to a modern reader seeking to understand each side of the narrative in its entirety. Writers such as Chimamanda Ngozi Adichie and Chinua Achebe have both given voice to African women who may otherwise have had their stories untold. While “Things Fall Apart”by Achebe centers on a male narrator, it provides rich characterization of the female characters, refusing to succumb to stereotypes. It also provided a platform for women writers to exercise their voices in its short story anthology. Adichie, an Igbo Catholic feminist writer, offers a unique perspective, notably through her article “Purple Hibiscus” which follows the maturation of Kambili, its soft-spoken narrator. Aunt Ifeoma, Eugene's widowed sister, represents an essential foil to Beatrice's submission and adherence to status. what. While Beatrice plays the peacekeeper within the family – a woman who picks up the remains of the damage caused by her husband – Ifeoma hardly cares whether she ruffles her brother's sensitive feathers, particularly regarding the way she addresses him. During the family's stay in Abba, Ifeoma points out that "everyone in Abba will only tell Eugene what they want to hear. Do our people have no common sense? Do you want to pinch the finger of the hand that feeds you? (Adichie 96)Ifeoma, although gained freedom in sad circumstances, has gained freedom in the way she lives her life. No one watches how hard she can laugh or how often she can smile widely with her teeth gaping. Ifeoma insists to Beatrice that sometimes "life begins when marriage ends", which shows that she has truly acquired a new life, contradicting Afisi's previously stated argument that polygamy benefits women , because a single woman cannot enjoy status, benefits, or cultural respect (Adichie 75). Aunt Ifeoma teaches at the university and, although she admits that her life is not easy, she insists that she remains truly happy in her life choices. She refuses to ask her brother for help because, as an intelligent and educated woman, she understands that depending on her brother to provide for her needs deprives her of her autonomy. She understands that as part of this control structure that Eugene has established and reinforced by society, she is giving up certain freedoms simply by admitting that she could use his help financially or otherwise. Although Eugene remains the symbolic figurehead of patriarchy within the family, patriarchy exists in other areas. forms as well, manifested through “the Roman Catholic Church, education, and the state” (Stobie 421). Adichie argues that toxic masculinity and unchecked patriarchal power lead to political corruption, in contrast to Afisi who argues that political corruption can be attributed to women who have tried too hard, trying to adhere to their cultural responsibilities as mothers and parents. wife while pursuing their own ambitions. The other main elderly male character, Papa-Nnukwu, arouses the reader's admiration in the text. Despite his casual sexism, stating that once he dies, his spirit will intercede for Ifeoma to find her a good man to take care of her and the children, he remains a sympathetic character due to his good nature, his generosity towards Kambili and Jaja and his will. to forgive his tyrannical son who rejected him for his traditionalism which he describes as paganism (Adichie 83). Adichie does not deny the existence of flaws in this type of traditionalism, but seems to favor it over the fanatical Catholicism manifested in the character of Eugene. She seeks to contradict Afisi's previous point that sexism within African culture is a new phenomenon by juxtaposing these men in the same room, showing that modern, postcolonial, democratic Catholic culture and traditional, pagan, Igbo people are sexist in their nature. either way. HeThere's also something to be said for the way Ifeoma interacts with her elderly father. While remaining respectful to him, she subverts his casual sexism with tiny sarcasms and truths about her life. When told that he would help her find a good man to take care of her after her death, she replies that she would expedite his "promotion to lecturer", showing that she does not care. doesn't expect a man to provide for her and knows the consequences. means providing for oneself better (Adichie 83). Earlier in this scene, she also contradicts her father when he states that in the field of education, because she is a woman, she does not count. This particular section remains important and highlights the innate sexism that still exists. Although Ifeoma and Eugene received the exact same education in missionary schools, Eugene found power through the male-dominated Catholic Church, while Ifeoma cannot receive a promotion at university for the help take care of their children. Ifeoma responds to his casual sexism in a light-hearted, teasing manner, without harshly criticizing her father. Another thing to consider when talking about female subversion is Adichie herself. The play unfolds slowly like the unfolding of a hibiscus in a garden, but over time the flower becomes not more beautiful but more violent, revealing the complexities and contradictions of Eugene's character over time. Early on, there are gentle, subtle allusions to Eugene's violent impulses – it's not written in a way that automatically casts him as the villain. The opening scene of the novel shows Eugene throwing the church missal and smashing Beatrice's ballerina figurines into pieces in reaction to Jaja's mass actions. Sips of Love shows that Kambili has developed an understanding of love as painful and deserved. Then, Adichie slowly escalates the violence, hinting at bruising on Beatrice and explaining how she is having a miscarriage, a repercussion of Eugene's merciless beating. Finally, Adichie reveals the extent of Eugene's abuse, showing all his physical violence when he whips his family when Kambili breaks the Eucharistic fast, and forces Kambili and Jaja to dip their feet in boiling water as punishment. for visiting their grandfather. Slowly unveiling this violence over time is Adichie's way of making the play more believable, as a portrait of a family falling apart. By not immediately labeling Eugene as the villain, she allows the reader to draw their own conclusions about the character. This slow progression also makes the ending feel within reach rather than far-fetched. Adichie also uses a naive young narrator at the peak of her naivety. She does not model the narrator from her own beliefs but rather uses him as a blank slate for the ideas around him. Perhaps Adichie uses these two techniques, the slow build-up of violence and the naive narrator, to place an objective lens on the story and protect herself from harsh criticism. Faced with the accusation that her novel was considered feminist, she did not hesitate to express the content she chose to write, but instead stood proudly behind her novel, not refusing the label of feminist. Even though this decision receives a lot of criticism from men and women, she does not waver in her convictions, which helps to give a new color to her fiction. Similarly, in Things Fall Apart, Achebe had a huge responsibility in how he chose to tell the narrative to include a female voice that felt authentic. It includes in room two.