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<title>Scholarly Publications</title>
<link href="https://ir.nilds.gov.ng//handle/123456789/277" rel="alternate"/>
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<id>https://ir.nilds.gov.ng//handle/123456789/277</id>
<updated>2026-05-02T20:37:23Z</updated>
<dc:date>2026-05-02T20:37:23Z</dc:date>
<entry>
<title>Oral Tradition as an Instrument of Revolutionary Change In Ngugi W A Thlongo's Devil on the Cross</title>
<link href="https://ir.nilds.gov.ng//handle/123456789/280" rel="alternate"/>
<author>
<name>Ahmed, Kabir</name>
</author>
<id>https://ir.nilds.gov.ng//handle/123456789/280</id>
<updated>2021-10-22T11:05:45Z</updated>
<published>1992-01-01T00:00:00Z</published>
<summary type="text">Oral Tradition as an Instrument of Revolutionary Change In Ngugi W A Thlongo's Devil on the Cross
Ahmed, Kabir
Ngugi wa Thiong'o started out as a cultural-cum-political&#13;
nationalist as well as a deeply religious novelist. At the time he wrote&#13;
his early novels, his loyalties were divided between his reverence for&#13;
Christian religion and his desire to defend aspects of the Gikuyu cultural&#13;
tradition and politics.
Ngugi wa Thiong'o started out as a cultural-cum-political&#13;
nationalist as well as a deeply religious novelist. At the time he wrote&#13;
his early novels, his loyalties were divided between his reverence for&#13;
Christian religion and his desire to defend aspects of the Gikuyu cultural&#13;
tradition and politics. For instance, in his portrayal of Christianity in&#13;
The River Between (1965) Ngugi was both encouraged to see&#13;
religion as positive, because it taught reconciliation and unity- his two&#13;
main concerns in the story, and also as negative, because its champions&#13;
attempted to wipe out aspects of the Gilcuyu cultural tradition which he&#13;
cherished as a cultural nationalist.
</summary>
<dc:date>1992-01-01T00:00:00Z</dc:date>
</entry>
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