Author(s): Oluchi Chris Okeugo, Obioha Jane Onyinye

Abstract: The study on the several depictions of male chauvinism in society from which the woman has to be emancipated is plausibly noted as the hallmark of feminist writing. Each of the identifiable shades of feminism reveals the writer’s orientation and inclination of the cause of the woman in the march towards what is viewed as obligatory emancipation. There are suggestions that most radical feminists find creative writing as a veritable medium for reacting to the foul-tasting experiences they have had. For this reason, anti-feminist writers reluctantly see reason with this revolutionary enterprise and easily latch on to pitfalls in such writings. Owing to these foul-tasting experiences of acclaimed inferior gender, certain works have been imposed with gender proclivity by both feminists and their detractors, especially in contexts where gender discourse translates into some kind of battlefront. However, writers who consider such conflagrations as a cloud over other preferred themes tread the path of neutrality or moderation. Consequently, in her novels which came after Purple Hibiscus, Adichie found more compelling themes than the subjugation of women. Apparently, the portrayal of her female characters, in perceivable satire, seems inclined to negotiating the charges against men, as profusely portrayed in her first novel, for the often pinpointed woes of women in society. Relatively, this work examines how the view of parodied feminism is projected in Half of A Yellow Sun and Americanah. The consciousness of imperative mediation comes into focus as it becomes manifest in the logic of Adichie’s narratology.

Keywords: Adichie, Parody, Male chauvinism, Anti-feminists, Emancipation, Narratology.

DOI: 10.22161/ijels.51.5