Would you help me plzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

Hey Mates,i need ur help!it's emergent!!
I'm searching for :"The Beautiful ones are not yet born"Ayi kwi Armah"
1_Character analysis
2_Style+language
3-Themes
4-The modernistic aspects in the novel


Plllllllllllllllllllllllllllllllllllz,i need them tonight,or TOMORROW

I didn't find enough inf in LITERATURE's corner!!

Check this, mimi cici:

https://blida-english.bbactif.com/t467-the-beautyful-ones-are-not-yet-born

https://blida-english.bbactif.com/t55-the-beautiful-ones-are-not-yet-born

Check this, mimi:

https://blida-english.bbactif.com/t52-book-review-ayi-kwei-armah-s-the-beautyful-ones-are-not-yet-born-by-dida-halake

This, too, might help a bit:

In The Beautyful Ones Are Not Yet Born, the primary journeys are intentional, in the sense that they concern the movement of people from one point to another, and are unidirectional. In this first novel Armah emphasises journeys in such a way that, of the space-time continuum, it is time which he emphasises. This is a modernist concern, in the sense that, 'Since modernity is about the experience of progress through modernization, writings on that theme have tended to emphasize temporality, the process of becoming, rather than being in space and place. What Armah is dealing with in The Beautyful Ones Are Not Yet Born is a cluster of ideas around the processes associated with post-colonialism, which contrast a positive view of evolution on the one hand with a cynical view of the impossibility of real change.

The narrative is set in a time when it seemed that there could be a new beginning in Ghana (Maanan is the character who represents this hope more than any other, with her adoration of Nkrumah) but other characters are also aware of a Ghana which is not capable of changing fundamentally enough to escape the unfortunate consequences of the clash between traditional and Western social organisations ('our Ghana' is frequently reiterated, with a cynical intonation). While modernisation seems to be a possibility in both industrial and political senses, the new political leaders are to be no better than the old, and industry remains essentially primary, in the sense that the value will be added to the primary product by the industrial powers—if not also in the sense that its conduct will continue to depend on an exchange of gifts which under capitalism becomes bribery.

Vehicles are so prominent in the novel that their presence immediately suggests a reading via a structure of travel metaphors. 'The man', the anti-hero, is first discovered on a bus, and the theme of corruption is immediately introduced, in this context, with the bus driver's fascination with the rotting smell of the one cedi note, which he has got illegitimately. Then we find that the man works for the railways, as one small cog in the machine that keeps Ghana's raw materials coming out of the interior to be sent to one of the industrial powers ('to bring Tarkwa gold and Aboso manganese to the waiting Greek ships in the harbour' [p.24]), a machine which, like the bus, is oiled with the lubricant of kola—bribery. The small journey from home to work is linked with the journeys which are inherent in work, and both are linked with the corruption which is the novel's major theme. That is a basic level of journey imagery, which is both naturalistic and metaphoric.

Opposed to these cultural journeys, and metaphorically and structurally contrasted with them is the natural journey of the stream (p.27) from its rising to its discharge into the sea. Like the characters, however, it is being corrupted by travelling through processes of industrialisation and the unsound ecological practices which are associated with imperialism and colonialism.

The simple journey structure begins to be complicated when we consider the metaphor is that of the birth in reversal, through the back passage, and through space as symbol. This journey, at a more abstract level of journey image—which we might call symbolic—is the journey of the man with Koomson, whom he is helping to escape from the results of the army coup, as they travel through the latrine hole, and along the nightman's circuit, to the cleansing sea. This can obviously be read in its detail as the reverse of a birth ritual, as the gross Koomson has to be squeezed through the hole and pulled out—and one can go on and add a political dimension in the light of which a new state has to be forcibly reborn out of the shit of the old, but not without inevitably bringing a good deal of the smell and detritus with it, and not without the continuing need for cleansing.

A bus like the one from the beginning of the novel appears again very near the end. '"Constable,"' the driver tells the policemen, '"my passengers. They're in a hurry."' Ghanaians in a hurry to become part of a modern state. '"The people inside. They want to go," he said.' (pp.213-4) And they do go, after the driver hands over a one cedi bribe to get the wheels turning again, recalling a similar note from the opening pages.
The second-last paragraph has the image of a bird singing happily over the latrine, and although the man cannot recall its name, we can. We remember the chichidodo bird: 'The chichidodo bird hates excrement with all its soul. But the chichidodo only feeds on maggots, and you know the maggots grow best inside the lavatory. This is the chichidodo.' (p.52) The circular movement of the chichidodo bird away from the lavatory and back again functions symbolically in the novel's spatial economy, and its meaning resonates in the last words of the novel, as the man 'with thoughts of everything he was going back to' ... 'walked very slowly, going home.'

In The Beautyful Ones Are Not Yet Born: journeys are prominent, and seem to imply the possibility of getting somewhere: trains appear to carry produce for a purpose; buses carry people to work; Koomson makes progress, getting rich; the man's wife hopes to achieve financial gain from the dishonest business deal with the boat. All these trajectories are linear, unidirectional, all the movement is at least intended to be in the direction of change and progress. On the other side of a binary opposition are the metaphors of circularity: the nightman's circuit, the return of the chichidodo bird, the recurrence of political corruption; and the closed structure of the novel itself, beginning and ending with the same status quo, the same bus, the same dependence on bribery. By the end of the novel recursion has overwhelmed linearity, and those cyclical movements which will dominate the next four novels have become inevitable. The central character, the man, is a mediating term, caught between progress and regress, and between hope and despair.

Goodmorning Everyone, Check this link Mimi for the novel's general summary, and the characters' analysis.

http://englishdzclub.com/viewtopic.php?f=22&t=34&p=137#p137


Salam

Thanks a lottttttttttttttttttt Mates..
my Af lit exam has been finished...everything was OK
I LOVE U SOO MUCH