This project aims to explore African literatures through a comparative lens, highlighting dialogues between local traditions, postcolonial dynamics, and global perspectives. It investigates cross-influences among different regions of the continent as well as their interactions with other global literary traditions. By examining themes such as orality, memory, migration, and modernity, the program offers a platform to reflect on how African narratives contribute to reshaping global literary imaginaries. Special focus will be given to new narrative forms and the impact of digital technologies on contemporary African literatures.

This comparative study examines the characters of Meursault in Albert Camus's "The Stranger" and Mustafa Saeed in Tayeb Salih's "Season of Migration to the North," focusing on their shared dispassion and existential detachment. Both characters embody the outsider archetype, navigating complex social landscapes that reflect their alienation from societal norms. Meursault's emotional indifference, particularly in the face of his mother's death, positions him as a figure of absurdity, where his lack of conventional grief is met with societal condemnation. In contrast, Mustafa Saeed's dispassion emerges from his postcolonial identity struggle, as he oscillates between his Sudanese roots and Western influences, ultimately leading to a profound sense of disconnection from both cultures. The analysis reveals that while Meursault's detachment is rooted in existential philosophy, reflecting a rejection of societal values, Saeed's dispassion is intertwined with the complexities of colonial legacy and identity crisis. Both characters confront the absurdity of existence, yet their responses differ significantly; Meursault embraces his alienation, while Saeed's experience is marked by a yearning for belonging that remains unfulfilled. This qualitative research is based on content analysis, mainly of these two novels, adding to that related criticism of these two.

A certain degree of presence of literatures of Nigeria on the “global stage” is undeniable, but the concept of “literary peripheries” suggests a nuanced positioning within the broader literary landscape. The observation that any question concerning the genre of the novel in the context of Nigerian literature would evoke a plethora of issues, with the primary one being the position of a narrative in the ‘global’ context, opens up a rich and complex terrain for exploration. One of the impediments to a proper understanding of novels, emerging from Nigeria, is the existent historiography/s, concerning genre of novel. Traditional belief holds that the genre of novel ushered from “outside” (primarily from Europe). However, this adopted genre projects the “local” forms, comprising of oral traditions and ‘indigenous’ languages. The development of the novel as a literary form is a multifaceted process, influenced by various historical, cultural, and literary factors. The emergence of contemporary novels from Nigeria is typically understood in the context of the 20th and 21st centuries, with influences ranging from colonial experiences, post-colonial realities, cultural dynamics, and global literary inclinations. Women’s literary expression, through the written genres, like the novel, appeared as late as 1966 in Nigeria, through the publication of Efuru, a novel by Flora Nwapa. Though women were central figures in the oral traditions of different indigenous communities their literary expressions were ignored and criticized when the written genres gradually replaced the narratives of oral tradition. In fact, the first published woman writer from Nigeria, Flora Nwapa (1931-1993) experienced negative critical response and was relegated as a ‘minor’ writer. The concerned paper has indulged in a study to understand how important were the position of women in the oral traditions, across different communities in Nigeria. Besides this, the paper also focuses on how the narrative techniques of the genres of oral traditions, in the Ibo community, featured as residual elements in the novels of Nwapa, which endowed the writer a pertinent place in the interface between the ‘oral’ and the ‘writen’.

"The Masque of Africa" is Nobel laureate V.S. Naipaul's travel book about his travels in Africa from 2009 to 2010 in Uganda and other African countries. From Uganda, the center of Africa, Naipaul passed through Ghana, Nigeria, Ivory Coast, Gabon, and the southernmost part of Africa, South Africa. Naipaul, as a spectator, chronicled all the forms of powerful Kings, ordinary pawns, converts to foreign religions, followers of ancient African faiths. Compared with his previous travels to India and the Caribbean, Naipaul plays the role of listener and recorder, tracing the changes in the African continent in the process of globalization and the reasons for the changes.

In recent years, post-colonial studies have shown a tendency to extend to environmental criticism and ecocriticism. Since the initial rise of colonial ecocriticism in China after 2021, post-colonial ecocriticism studies have been in full swing. The important research object of post-colonial ecocriticism is the promotion and development of western colonial activities and its impact on the social ecology, cultural ecology and natural ecology of the colonies, which realizes the combination of post-colonialism and ecocriticism. In today's ecological problems to find their historical roots, in the colonial process to find the world ecological changes. This paper discusses the social and environmental injustices caused by the western colonial consciousness's intervention in the environment. The Masque of Africa has a profound postcolonial ecological thought connotation, showing its unique writing ideas. African Masque covers the geographical space and urban landscape of Nigeria, Ghana, Gabon and other regions in Africa, and its spatial writing vividly reflects the impact of post-colonialism on the urban space of African countries. Naipaul shows the traces left by colonialism in post-colonial areas. The essence of the colonists' economic expansion and the illusion of local development. Through reviewing the studies of Naipaul's works from the perspective of post-colonial ecocriticism, there is no in-depth analysis of The Masque of Africa from the perspective of post-colonial ecocriticism. Therefore, this paper will carefully and comprehensively analyze the relationship between man and nature in the post-colonial context of Naipaul's works, and explore the warning significance of the ecological crisis in modern society and the enlightenment of ecological development in this work through the analysis of specific ecological images, so as to reveal the unique theme of Naipaul's post-colonial ecological writing, so as to broaden the research horizon of Naipaul's works.