charting the growth of gyno-texts in nigerian prose fiction.
Gyno-Introduction The text is the text written by women, which speaks for women\'s stories and perspectives. They originated from feminism; This is to write the female perspective into history and correct people\'s aversion to women\'s gender. ChikewenyeOgunyemi affirmed this in declaring \"a novel that is considered a feminist. . . Not only must it deal with women and women\'s issues, it should also raise some aspects of feminism \"(64). Gyno- The text of Africa is not as dense and long-standing as their English precedent Because most countries on the continent are based on a history that is basically oral. This was the invasion of the 11 th century Arabs, and the invasion of Europe in the 15 th century was spread through conquest. Trade and colonialism actually bring the art of writing to much of the continent, whether in Arabic or in any language. Due to the different relations between different African countries and the countries that conquered or colonize them, there are also significant differences in the evolution of writing in different regions of the African continent. Editors of women\'s writers in West Africa and the Sahelian noted in describing the difference :. . . The types of texts unearthed and collected in these two regions tell the different colonial histories of southern and western Africa. (XXV) African literature is heterogeneous and is no more important in any way than studying female works. The publication of the first woman in Nigeria The novel centered on the novel was positioned in 1966; Our French counterparts in the same West African region until the publication of The Une Si Longue Lettre of MariamaBa in 1980, the publication was translated into English in 1981 and the title was such a long letter The expansion of female consciousness is also asymmetrical, as more than 20 years ago, works from French-speaking areas on the African continent have become radical, openly used as symbols, and tend to be gay. CalixtheBeyala\'s first novel, the most beautiful sun, is an example. 1987) Later translated into English in 1996, the title is \"the Sun looks at me. \" Therefore, a graph of gyno-growth needs to be drawn The text of Nigeria, with a focus on prose fiction, because of the number of prose works from the country and the difference in the level of consciousness of female writers in different literary genres. Growth of Gyno- The text of Nigerian prose novels The first stage of Nigerian female writer consciousness growth can be between 1966 and 1970. No one lives at this stage because it is dominated by Efuru and Idu, both written by efapa, published in 1966 and 1970, respectively. Both pieces occupy a position that should not be merged with other texts in order to increase the number as they are rooted in the traditional background of the author. They are a summary of the cultural practices experienced by women in Nigeria\'s primitive societies, with the main purpose of reproducing the experiences of women in traditional societies, with little penetration into other cultures in the assessment of the people. These texts are intended to define who a woman is in the traditional context, contrary to the earlier definition of a Nigerian male writer who portrayed women as weak, dependent, prostitute and silent. Nwapa says her motivation for writing is to seek to see the real performance of women in her community, which is not influenced by western education or values. So she corrected people\'s prejudice against her when she showed her heroine. She strives to create a heroine who is witty, diligent, successful, respected and influential in the community. In Efuru, the strength of women is manifested in men\'s dependence on their wives. Nwashike Ogene lamented that he couldn\'t handle his daughter\'s late night. Because his wife is dead, as he said, \"she will know how to deal with her if her mother is still alive \"(8). Adizua\'s father Ukachukwu also returned to his wife when he was sick and needed care and love; He did not go to dibia (Local doctor) Instead, he came to his wife and took him to one. Similarly, Adizua is portrayed as a person who makes a living by a woman; His mother at first. then Efuru; Then, as ajanupu pointed out in encouraging Ossai to look for her irresponsible son, the woman he ran away with, she said, \". . . He relies on these rich women, not because he loves them, but because they have money. 80). Women in the text also depend on men, which is not a sign of their weakness, but to show both The constitution of Nigerian society. This shows that men and women live in complementary abilities represented by the relationship between Efuru and her father. During his life, Nwashike Ogene was the pillar of his daughter. When she evaded customs and lived with a man who could not afford a dowry, he did not embarrass the daughter of the asshole, who sent someone to appeal to her, when she refused, he did not take any drastic steps as society expected. In addition to that, when the dowry was finally taken, he was pleased to accept it, and when the daughter was looking for the child and Adizua to go missing, he was the daughter\'s confidant and consultant; He never blamed her for choosing her husband, but when she needed to leave Adizua\'s house, he shared her pain and gave her the chance to succeed. Even after his death, when she needed to leave Egbert\'s house, his house was always open to her. Another example is the friendship between men and women, which is reflected in the relationship between Efuru and Dr. Uzaru; Her childhood friend discussed her issues with her and had enough confidence to take people to medical treatment. The doctor is portrayed as a compassionate person. 96-97) For the plight of Efuru, the superior argument of Efuru can be accepted without showing any anger or intimidation; He accepted that she was a person with his own opinion. When Efuru was cold in her second marriage, she trusted him very much and noticed that \"He is the only one who can help her \"(141). Therefore, the text can be said to show the degree of mutual dependence between men and women; Men and women live together in a situation of mutual respect and equality. This can also be observed in the relationship between Nwosu and his wife, Nwabata. The Nwosu refused to accept the procedure recommended by the doctor because his wife objected; He had to convince her to accept it before he finally went to Onicha for surgery. Although the text heralds the interdependency between men and women, the economic independence of women is also predicted. Efuruis is portrayed as having enough money to lend to toOgea\'s parents through her transaction as she also contributes to the charity, which is paying the hospital bill and return of the Nwosu171). Other female roles in the text are also portrayed as trying to engage in the industry of their choice when they make a living; Even before she got married to Nwosu, Nwabata proved to be a successful businessman who left Nwosu and followed him to the farm, a step that eventually led At this stage, people judge their merits based on their actions or inaction, and as such, barbarism, gender discrimination, gossip and all forms of bad behavior do not appear to be specific areas Asadizua \'a farm buddies talk about his laziness while he is not among them, just as these women also discuss Efuru\'s rudeness to her husband when they see her in the distance and The story of the woman who was stolen in the hospital was also recorded, stressing that not all women were saints because the man dared anyone to approach his children and wife, because the boy was born with teeth, the story was also recorded, because Efuru mentioned the man and he had to be an amazing person (170) In response to Nwabata\'s claim that the mother of the child was reinforced by her husband against the custom. The responsibility of women to downgrade their gender to secondary status is also a feature of this stage, as nwasobi said in comforting the death of Efuru\'s daughter, \"although we prefer boys, but a girl is a thing \"(72) And Omirima who told Amede gossip ( The Second Mother of Efuruin-law) It\'s annoying when some women have about six children and are all girls. What will you do for girls I don\'t know (184). This shows the belief of a boy. Kids are better than girls- Women make children permanent. Another feature of this stage is that the text is a complement to cultural practice. Efuru first mentioned the practice of paying dowry before a woman is married by a man. This shows that, as a prerequisite for marriage, love does not matter and the focus is on paying dowry to the wife\'s family. Despite the fact that, even if not paid, Efuru would go to her husband to put her life in her own hands, the two of them \"felt really married\" for the first time \"(24) After living together for about a year, they realized the tradition by paying the dowry. Efuru also experienced the pain of circumcision because it was done for every newly married wife in her community, without any negative comments from the author about it, and without the heroine\'s The only comment was the evil suffered by women who refused to attend the ceremony. Ajanupu\'s comment on circumcision is \"what has happened to every woman \"(15) She encouraged Efuru to suffer but failed to pass any form of judgment. This statement makes sense because it shows the writer\'s intention not to condemn this practice in society, as ajanupp is portrayed in the novel as a outspoken, liberated woman. Similarly, polygamy is considered to be a norm, as Efuru constantly reiterates that she does not object to her husband\'s marriage to another woman, because there is only one bad woman who will leave her husband with her, she actually confirms this by marrying another wife for Gilbert. Marriage is also portrayed as a necessity for a woman, although they were almost treated rudely at the time, as Efuru said when it comes to the general nature of women, \"Marriage is one for us97). Mandatory mother is another practice of Zhongfeng in this article. Despite the kindness and diligence of Efuru, she has experienced the endless pain and humiliation of not being able to have children. Gossip makes her life more interesting because the importance of children is highlighted in the text. Efuru summed up what her people think of human nature, saying, \"her people don\'t just treat it as part of countless natural accidents. It\'s considered\'164). At this stage, avoidance problems and sexual organs are also a trend. In describing his illness, the Nwosu responded to his wife\'s embarrassment about Efuru\'s problem with the location of the disease in the body, saying: when describing the disease to a doctor, efuru said it was \"some expansion \"(97) When the doctor describes his relationship with the male organ (97). Also, there is no mention of single sex for any one character. This is consistent with the traditional values of those who do not discuss their sexual issues, nor mention their sexual organs, but only mention them in euphemism. This stage also shows the accommodation method of African female writers, because the protagonist is deeply loved and accepted by her husband\'s family, and more importantly, after she left Adizuain- The law is still her confidant and friend. In addition, whenOssai (Mother of Adizua) After she left the hospital, she was still the one who looked after her. It was confirmed that the woman married not only a man but also his whole family. In addition, it is negative to mention the impact of Western civilization; It turns out that traditional Nigerian women are hard White women and Western women in Africa do not work. Nigerian women who tried to imitate white women\'s laziness were condemned. Gossip about her daughter. in- She slept until dawn because of school. She succinctly captures the potential differences between a black and a white woman in stating the negative effects of Western education on her daughter --in- Law: the difficulties people experience are also blamed on western education invading their borders, which causes children to ignore the laws of their ancestors and incur the wrath of God. Omirima once again gave the example of three school girls who saw them fishing on Orie day, a violation of the Uhamiri order -- Goddess of water. She notes that this behavior explains \"why there are no fish in the River\" and has had the effect of \"poverty in Town (195). So this stage is marked as the stage of self Definition, because the text is intended to define who a woman is from her own perspective. It is not intended to counter norms, nor is it intended to make judgments about the culture of the people, because the author, as far as possible, does not make judgments in real time in the presentation; Because there is a peace in the recognition and the restriction of women. Gyno-Phase 2 of growth The text can be located between 1971 and 1990. The text at this stage shows the conflicts between traditional values and Western civilization brought about by the influx of Nigerians from the countryside into cities, this is due to their belief in getting better jobs and earning higher wages in the city center. They demonstrate the impact of this cultural conflict on women as they portray how she is trapped in traditional institutions, as she is expected to integrate with the new society that has just emerged; She is oppressed by traditional values and emerging Western culture, which shows the dual shackles of oppression of women. Writers at this stage are not just showing who and what women are, but questioning the status quo. Women who will follow the tradition and be swallowed up by the tradition, and women who strongly oppose the tradition and are still destroyed by the system they oppose. Since they know what kind of audience and critics they are writing for, they can\'t boldly predict women who are against society and win, but they subtly do that by creating a change The self always gains some kind of victory in the face of society, because she is able to live outside the established system. This alter- Self-freedom of thought, in order to reach the height of this freedom, always sacrifice her reputation on the altar desired by society, and therefore, confirms the stereotype of early male writer Cyprian Ekwensi in JaguaNana and his other texts that a woman cannot live in this established institution except as a prostitute In the second stage, female writers usually start their works with pictures of traditional society, like the first stage, projecting and depicting the life before the arrival of Western civilization, this can be seen from the joy of the mother, and this is the classic example of the prose novel of Buch emeichita at this stage, in the traditional custom, such as greetings, marriage customs, polygamy, slavery, suicide ability, burial customs related to women, virginity beliefs, children -- The marriage and marriage of Ona and her father\'s daughter Shows the relationship of ObiUmunna. However, these works are different from those of the first stage, as they go beyond the presentation of cases, depicting how women are served and influenced negatively by these customs. Agonwa, the first wife of Nwokocha agbadi, was ill and that night he decided to \"entertain\" himself at home with his mistress. For what people have said, the author\'s invasion suggests that the disease that eventually caused her death was caused by Abadi\'s indiscretion. As she said: \". . . But some noticed that hearing her husband bring joy to another woman with the same enthusiasm that she was sleeping was bad for her morale. . . \" (21). Idayi also confirmed the idea that he cleverly accused his friend of waking up in the yard when \"you and your Onawoke dead. . . \" (22). As she said, the Ato also talked about the lack of husband\'s sexual attention for women in traditional polygamous settings, \"you forgot, like you, I grew up in a big yard, I have seen a neglected wife all my life. You have the same expression in your eyes, looking for something that doesn\'t know what it is \"(76). Let us know that even in the traditional environment, Women in polygamous systems do not enjoy such a system as our previous texts believe. The pain, resentment, and conflict associated with polygamy are well reflected in the relationship between Adaku and the Nnu self. In addition to showing how they are negatively affected by these factors, this stage further demonstrates that these beliefs do not exist. Thinking that a woman married as a Virgin would have children early as Agadi said, \"it\'s easy for a woman to get pregnant when she has a moral character \"(31) Proved to be untrue. The family of Ego okwu presented six whole barrels of palm wine to her father confirming that she was a virgin and that she could not have children in that family, even though she did not marry him as a virgin, but it\'s easy for her to get pregnant as Nnaife\'s wife. The practice of burying a woman who has a son for her husband in his home because she is called a \"complete Woman \"(22) The text was also destroyed because nnuego, despite having three sons for nnafe, \"had to go and live inOgboli with her own people \"(223) Due to the situation at that time, she was eventually abandoned by the roadside. Also, in this article, the belief that a woman with a male child will be taken care of by them when she is old is overturned, as both Oshia and Adimboth live overseas, no. This action resulted in her mental instability and eventual death, even though her daughter took care of her because she could not bear the silence of these sons and she had sacrificed herself for them. The influence of Western civilization to subvert traditional social customs and belief systems is based on the fact that men leave the traditional male role and allow women to play a role in integrating into the newly introduced Western culture, although they insist that women will still play the newly acquired role according to the roles traditionally set for her. This article shows how the invasion of Western civilization can help to tighten the noose on a woman\'s neck as she loses some of the benefits that traditional society has given her without losing any duties, and not a new way of life. This is represented by Nnu. Ego\'s obligation to leave her bed to her colleagues The first night in Lagos, wife Adaku, she and the children had to sleep on the floor. This situation is different from the traditional polygamous system in which each wife has her own cottage. As she explained on page 137, \"all she inherited from the agricultural background seems to be responsibility, no loot \". In the same way, after the doctor Meers and his family left Nigeria and NnuEgo became the breadwinner of the family. The bill negates the traditional norm that men must provide basic living facilities for their wives and children. Nnafe noted in the 87-page idea that this was due to the impact of the city: This pattern was repeated again when Nnaifeinto was drafted. By the time he came back, he had gained new ways and confidence, so he gave house- Keeping the allowance he knew was not enough for his extended family, without any feeling of remorse. He also gave up more responsibility, such as paying ofAdim\'s tuition fees to Nnu Ego without any remorse, which was the first time he had to let her take responsibility for taking care of the family. The narrator in joy also highlights the way modernity builds a gap between husband and wife, saying: due to the brutality and self of the village, the way Nnu Ego is abused by Amatokwu The treatment of theOwulum repeats itself in The life of Iyawo Itshekiri in Lagos, as sheis is described as a \"mature by The constant beating of her husband\"105) She is called \"Iyawo\" because she has no ability to have children \". This proves the adoption of the traditional values of men and women in the modern life system. In addition to describing the integration of conflict and culture, this will undoubtedly bring new problems and values to women and move the problem from the old culture to the new culture, the text at this stage questions accepted norms such as marriage, polygamy and mothers, which appear to be core cultural beliefs about women\'s gender. This is revealed by the protagonist\'s reflection on their lives, with the aim of showing how they are served negatively by the culture they believe in and try to stick. In her monologue, a standard example is that sexual evasion is also mentioned and described at this stage. This is an example of a description of sexual contact between agbadi/Ona (20) And nnafe/Adaku (40); Writers at this stage discuss the sexual relationship of their characters, for example, it is said that nnafe passed- The first night she was taken to Lagos40); Pleading with Nnu Let her husband \"sleep with her \"(79) When Ngozi died At this stage, the most prominent point of sexual contact is that it is always incited by men for their own pleasure. The text at this stage brings different perspectives to the female story; This is to give the reader a variety of options and to allow an assessment of how each character handles her issues. Although at the end of the text the heroine chooses to stay in their repressed marriage, there is always a depiction of another character that breaks out the seams of marriage and mother to gain independence and It can be seen from Aduku\'s character that her marriage was to make a better life for herself and her children, even though she had to endure the shame of being labeled a prostitute by society. Adaku is also portrayed as a woman willing to send her child to a boarding school in order to have time to take care of herself and abusiness, unlike before her child suffocates her On top of that, other secondary characters will also be portrayed to cope with the changes that have come. However, when they negotiate their life, accept it and join the culture that is in line with their life, but accept the inevitability of change when they face it. This is manifested in Abby\'s mother\'s character, and although her single parent takes great care of her son and ends up reaping the fruits of her labor, Abby\'s son is in her old age Therefore, this stage can be called the stage of self. estimation. When these writers estimate the status of society for women, in the process they judge the gender bias of the society they want. They also go beyond this evaluation of society and actually propose possible ways to win for women -- Although the solution they suggested was negotiated within the space allocated to women in society. The emergence of a new round of writing in Nigeria\'s femaleauthor is based on the idea that feminism was sitting in the 1990 s, a growth that has expanded to the 21 st century. Gyno- The text at this stage was written mainly from the diaspora, about a woman named Chimamanda Ngozi Adichie, half of the yellow sun. This is clearly different from the early stages, as it shows pictures of women taking concrete actions for the return and liberation of women. This stage of the growth of African female writers consciousness is mainly inhabited by writers in the diaspora, who were either born by elite parents in the urban areas of Nigeria, and then they chose to leave the country off the coast of Nigeria, or those born overseas. Other examples, Besides Adichie, include Sefi Atta, SadeAdeniran, Simi Bedford, Helen Oyeyemi, Diana Evans, and Unoma Azuah. A small number of women still writing in the country include Essex Gebo and ocoyer. These writers from overseas are not the first. Master the norms and customs of Nigeria\'s traditional society, and they do not An in-depth understanding of the lower social class that constitutes the majority of the population in Nigeria, they acknowledged this in their work. Reflecting on Amala\'s attitude towards Odenigbo and her newborn baby, Olanna said, \"How much does a person know about the real feelings of those who have no voice? \" (256) She grew up in a guest room apartment with her family and has been thinking about Arize and her brother. (44). They chose not to portray their lives as a microcosm of the lives of other women in the country, because they understood the inherent mistake of portraying their stories as Nigerian women, as Adichie said in the podcast, \"A single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They turned a story into the only one. \" (2009). Although they claim to be incompetent in matters relating to all women in the country, they continue to draw pictures of the kind of women they know and identify. That is, new middle-class women living in a world of Western and traditional values. They created women who questioned the parent-teacher society and used their western education to subvert the parent-teacher system and self-confidence in various ways. Half of them, Olanna and Kainene, were able to create a niche for themselves thanks to the Western education they received. Olanna was able to get a job at the University of Nsukka to surprise her parents and fight Odenigbo in the event of an accident. This is in sharp contrast to Amala, an uneducated young girl whose mother is afraid of oddennibo, never imagined Olanna on page 6 \"She didn\'t say no to oddennibo because she didn\'t even think about saying no. Oddennibo was drunk and said without thinking: he is the master, he can speak English, he has a car. This should be the case \". Laura Adebayor is another character in the text, who has her own character among men, because she knows as much as they do about any topic they choose to debate in the ordenibo living room. When she made her point without restriction, she was not intimidated or silent, whether or not it was in line with public opinion. After the war, she was one of the early callers of odenigbo\' shouse, symbolizing her brave return to the war-torn city, even though she was a Yoruba woman Unlike early authors, writers at this stage set most of their work in the city as typical of Adichie\'s chosen location, the most remote town she mentioned in the war -- The torn Biafra isUmuahia, today is a state capital with plenty of action in Nsukka, Lagos and Kano. The only village mentioned in the article is Opi, although it is not far from Nsukka, but in sharp contrast to the university town, as Ugwu\'s surprise of small things such as tap water, electricity and daily meal meat guarantees, white ceiling, soft mattress, e. t. c. He saw in Nsukkashows that these things were novel to him. This shows a sharp contrast between rural and urban settlements, amplifying their differences. In addition to this, the fact that they write from the diaspora brings a kind of \"exilic consciousness\", which provides space for the preconceived perspective and brings a profound and When he said \"distance distillation for me\", nuududdin Farah emphasized this; The idea becomes clearer and more worth pursuing. (2007: 183). He went on to explain how distance can help create more vivid pictures when he said that memory is active in exile. (2007:184). Since these writers are not fighting for the survival of the country, they need a distance to review their knowledge of their country and compare it with what is happening in the country in which they live; This enables them to vividly portray the widespread corruption of their motherland and its impact on the people. This distance enables them to discuss social issues. Political and economic issues of the country. They won\'t cover up society- Political issues only affect their role, but they spend extra time portraying the political picture of Nigeria, returning to historical events, its impact on the people and their response. Their role is positioned in historical events, which helps the story reach realism. Half-located in the civil war between pogrom and Nigeria, the events that led to the war became vivid and, during and after the war, depicted life on the national Biafra divide with vivid pictures. Through the personal stories of each of their characters, they draw attention to the collective stories of corruption and reckless contempt for the life of public officials. They have been able to travel through the private sector, from the private sector, early female writers writing articles on family issues in the public domain, they discuss national issues in the public domain, and these problems are plaguing all over the country. In order to show the historical authenticity of the story, the author used the date when writing the story. Half, for example, is in 1960 seconds. The reader understands this not only by telling the story, but by dividing the story into several parts, which are named after the I of the date. Twenty is an extraordinary alteration between that of the early Sixty century the end. In addition to in-depth analysis of society The political issue at that time, another thing that sets writers apart at this stage is the widespread use of gender as a symbol. Unlike early American female writers who avoided detailed analysis of sexual scenes, they painted a vivid picture of sexual behavior. Half read, showing the author\'s conscious efforts to paint scenes and ideas in detail. At first reading, one faces the sex of the original state, which is contrary to the earlier Nigerian female works, because the sexual behavior between characters is not only mentioned, graphic details about the bank\'s position for China were also mentioned, the voices made by the participants, the place where the behavior occurred and the mentality of the participants were predicted. Through Adichie\'s description of sexual encounters, she was able to emphasize human similarities regardless of social status or racial differences. Similarly, Kainene decides when to have sex with Richard from the upper echelons of society, the same way that chinyere decides when to have sex with Ugwu, all of whom have house\'s help, representing the lower tiers of society. During the Civil War, ugu Wu and his Biafran soldiers raped a girl in a bar, and Nigerian soldiers raped a girl on his sister Anulika. By describing these behaviors, the author is able to achieve her goals, indicating that humans are basically the same, and that they all have the same ability to love, hate, make love, eat, sleep and die. In addition to emphasizing the consistency of human beings in class and race, she also uses sexual scenes to subvert male supremacy, because women are described as initiator, while men only follow, wherever they are, they are led by women. This is represented by various sexy scenes between Olanna/Odenigbo, Olanna/Richard, Kainene/Richard, Susan/Richard and Chinyere/Ugwu. Although wugwu fantasized about having sex with nesinaqi, he never thought he could come to her and tell her until she gave him a chance --on sign. At this stage, people are described as not having enough influence to demand the relationship in a decent way. The only time men are in the lead on sexual issues is when they resort to rape. In addition, writers at this stage discuss alternative preferences that have not been mentioned or marginalized so far in previous works. Ugu House masturbated to obtain sexual relief in the village at night, when Chinyere refused to show -- Fast forward in the boy army division of Nsukka. Adichie\'s constant mention of this sexual habit in her work is also notable, as Eugene admits to masturbating in the purple Furong while taking any time to make sure his child is forever Similarly, half of Father Marcel abused the little girl he took care of at the refugee center run by Kainene. These writers have lifted their veil on issues that have so far been kept secret, and are a way to break every restriction of tradition on women\'s works. Because they have been able to uncover the curtains on the dirty linen of society. Show the status of society, not an idyllic society without stains or noise. In addition to playing a leading role in sexual relations, female roles at this stage also resist any of their infidelity. Half the time, Olanna found out that he had been cheating on her and eventually retaliated against him by sleeping with Richard, leaving the house of Odenidgo. Reward his opportunity with her own coins to help her overcome the feeling of betrayal and free herself from the bondage of pain, sadness and regret. In describing sex with Richard, the essence of the Olanna action was successfully grasped; When oddennibo finally returned to his house after he pleaded with her separately, she was sure that he would also work with her to maintain their share because \"his certainty was met251) Kainene punished Richard herself because when she found out that he was sleeping with Olanna, she burned the manuscript of his unfinished work, which he named \"basket hand \". When Richard knew what she had done, he was not even angry with her, and instead he felt his emotions soared \"(264) Because he was sure that she would not end the relationship, just as when oddennibo told Olanna about her escape with Richard, she would not be angry with Olanna. Susan was also very angry and threw her glasses when she felt any form of flirtation as the scene ended witherridge\'s confession and apology. Here, women do not accept obedience, but they will fight for their betrayal and make sure that men pay the price. These writers preach the gospel of revenge, attack any form of betrayal, and women need to defend themselves emotionally and physically. They do not agree with the concept of submission about women taught by Nigerian culture, nor do they agree with the idea that a woman is sad to end her life because of a man\'s behavior or inaction. They demonstrate the role of resisting all forms of oppression and conquest, because they believe that women are not appendices of Oman, but an independent entity that can live on its own. Aunt Ifeka, half, summed up the idea while talking to Olanna, saying, \"You never act as if your life belongs to a man. Your life belongs to you and yourself (230). Another thing to note about these writers is that they use first-person narrative techniques. Through this style of writing, they support the previous point that they do not represent all women, but by the polarity of the characters who tell the story, they can bring different perspectives of different women from all walks of life into the story. These writers not only express themselves through the behavior of the characters, but also express themselves in the use of language. They no longer write everything in English, but their code --mix and code-switch. They also use indigenous languages without explaining them. This shows that they are confident in their native language. In addition, they write conversations to let readers know that such conversations are conducted in indigenous languages. At this stage, it seems that another feature that runs through quite a few texts is their interrogation of the growth novel in order to amplify the metamorphosis of Nigerian women from childhood to adulthood, from birth to understanding, from dependence to independence. Through the physical growth of female characters in the text, they are able to determine how these characters grow from childish to understanding of their own mechanisms, which allows them to finally show their personality. The growth of Ugu houses represents this. Although they have some predictions about women who maintain themselves in society, they still show women who persist in male partners in various situations and contribute to society in one way or another; This is consistent with the culture of marriage as a social system. This can be seen from the example of Olanna andKainine that although their male partner is odd, they stick to it. Olanagar entered into a legal marriage with oddennibo after the armara legend, which took another step forward. Aunt Ifeka has also been shown to be in a marriage that presents a picture of happiness, and one step after her daughter Arize asher\'s young marriage has been shown to be premised on love, so much, so much so that when his mother does anything that makes his young wife uncomfortable, the husband stands up for his wife because she can\'t get pregnant for the first three years of the wedding. Olanna records, unlike earlier works, that the story ends with a monologue that only brings the pain and loss that the protagonist feels, and that these writers make their protagonist look forward to tomorrow, even if the surroundings are holding them back, they will feel the coming of tomorrow. Half of the ending is the hope of rebirth, as Olanna looks forward to the afterlife, when sheand Kainene will be reunited again as a sister. In these works, however, people tend to offer solutions to travel abroad to gain more confidence in solving domestic problems, or to obtain elusive golden wool. Most of the time, apart from leaving the coast of the country, writers do not seem to find a way to speak to the silent. Olanna and Kainene finally had to go to the UK to study before returning to Nigeria as liberated women. This trend can be linked to where these works were published when they were published in the diaspora. Writers tend to beautify the West as a place to acquire knowledge in order to ensure the liberation of women; Since most of them are writers from overseas, they cannot see how liberation comes from. Therefore, their works are affected by the place of residence and the place of publication. Conclusion The Growth of gyno-was stratified in this study. Text in Nigerian prose novels. It has determined its evolution from the stage of self. These authors portray women living under unacceptable social norms to the definition of self-stage It is estimated that women question their position in a social environment, accept their own restrictions, or sacrifice their personal or reputation for resistance to enter the stage of self They declare the assertion of their personality without fear from friends or enemies. Chimamanda, reference Adichie. N. Half of the yellow sun Lagos: Farafina, 2006. --. 2009. The danger of a story. Retrieved Aug. 07,2013, Emecheta from Buch. The joy of being a mother. London: heineeman, 1979 Farah, nuuddin Praise of exile. Selected works of African Literature: Essays and comments , TejumolaOlaniyan and AtoQuayson. Hoboken, New Jersey: Willie- Blackwell, Page 2007. 183- 185 Flora apa, Flora. Efuru. London: Heinman education book, 1966. Okonjo-Ogunyemi, C. The dynamic of contemporary black women\'s English novels. 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