Here's the part of the abstract which discusses romance fiction:
After discussing reasons for the popularity of Indian films in a Hausa context, it accounts for this imaginative investment of viewers by looking at narrative as a mode of social enquiry. Hausa youth explore the limits of accepted Hausa attitudes to love and sexuality through the narratives of Indian film and Hausa love stories (soyayya). This exploration has occasioned intense public debate, as soyayya authors are accused of corrupting Hausa youth by borrowing foreign modes of love and sexual relations. The article argues that this controversy indexes wider concerns about the shape and direction of contemporary Nigerian culture. Analysing soyayya books and Indian films gives insight into the local reworking and indigenising of transnational media flows that take place within and between Third World countries, disrupting the dichotomies between West and non-West, coloniser and colonised, modernity and tradition, in order to see how media create parallel modernities.
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To give some sense of the tone and structure of the texts I am dealing with I briefly outline the plots of two soyayya books. The books I discuss are Inda so da K'auna I, II by Ado Ahmad (1989) and Kishi Kumallon Mata (meaning 'Jealousy is the nausea of women') by Maryam Sahabi Liman (1993). (425)
Alicia Izharuddin ("Counterpublics" 2021) indicates that it has also appeared in Readings in African Popular Fiction (2002), edited by Stephanie Newell, 18–32. Bloomington: Indiana University Press.
Here's the part of the abstract which discusses romance fiction:
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Alicia Izharuddin ("Counterpublics" 2021) indicates that it has also appeared in Readings in African Popular Fiction (2002), edited by Stephanie Newell, 18–32. Bloomington: Indiana University Press.