The Beautyful Ones Are Not Yet Born
GPTKB entity
Statements (143)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:novel
gptkb:play |
| gptkbp:adaptation |
gptkb:none
not adapted into film |
| gptkbp:adaptation_year |
gptkb:1970
|
| gptkbp:adaptations |
gptkb:none
|
| gptkbp:adapted_into |
gptkb:film
|
| gptkbp:author |
gptkb:Ayi_Kwei_Armah
|
| gptkbp:awards |
gptkb:none
|
| gptkbp:character_arc |
Mensah's journey
|
| gptkbp:character_development |
gptkb:complex
complex characters symbolic characters |
| gptkbp:character_motivation |
survival and integrity
|
| gptkbp:character_relationships |
interpersonal dynamics
moral conflicts |
| gptkbp:characters |
the protagonist
the wife the father the friend the Boy the Father the Mother the Woman Mensah |
| gptkbp:conflict |
social
moral dilemmas external internal personal vs societal individual vs authority |
| gptkbp:country |
gptkb:Ghana
|
| gptkbp:critical_analysis |
frequently studied
|
| gptkbp:critical_reception |
positive
widely acclaimed well-received |
| gptkbp:cultural_aspect |
gptkb:post-independence_Ghana
Ghanaian society |
| gptkbp:cultural_impact |
gptkb:significant
discussed in academic circles influenced subsequent writers significant in Ghanaian literature |
| gptkbp:cultural_references |
Ghanaian society
|
| gptkbp:cultural_significance |
reflects societal issues
|
| gptkbp:element |
the train
|
| gptkbp:first_edition |
gptkb:1968
|
| gptkbp:followed_by |
gptkb:Two_Thousand_Seasons
|
| gptkbp:genre |
gptkb:drama
literary fiction |
| gptkbp:historical_context |
Ghana's independence
|
| gptkbp:historical_significance |
captures a pivotal time in Ghana's history
|
| https://www.w3.org/2000/01/rdf-schema#label |
The Beautyful Ones Are Not Yet Born
|
| gptkbp:impact |
influenced future writers
African drama Ghanaian theater |
| gptkbp:influenced_artists |
paved the way for future works
|
| gptkbp:influenced_by |
gptkb:Chinua_Achebe
gptkb:Wole_Soyinka gptkb:Ngũgĩ_wa_Thiong'o African literature post-colonial literature |
| gptkbp:influences |
African literature
post-colonial literature |
| gptkbp:inspiration |
social issues
African identity personal experiences Ghana's independence Ghana's political climate |
| gptkbp:isbn |
978-0435905252
|
| gptkbp:language |
English
|
| gptkbp:literary_devices |
gptkb:metaphor
gptkb:personification gptkb:dialogue gptkb:allegory stream of consciousness symbolism imagery irony foreshadowing hyperbole flashback symbolism and irony |
| gptkbp:literary_movement |
African literature
|
| gptkbp:literary_significance |
explores themes of identity
|
| gptkbp:main_character |
Mensah
|
| gptkbp:motif |
gptkb:dreams
gptkb:memory gptkb:family gptkb:society hope struggle urban life disillusionment decay post-colonialism moral decay |
| gptkbp:narrative |
first-person
third-person linear non-linear |
| gptkbp:narrative_style |
realism
stream of consciousness lyrical prose |
| gptkbp:narrative_theme |
identity and belonging
|
| gptkbp:notable_quote |
" We are all in this together."
" Hope is a dangerous thing." " The past is never dead." " Corruption is a way of life." " The beautyful ones are not yet born." |
| gptkbp:page_count |
192
|
| gptkbp:protagonist |
Boi
Mensah |
| gptkbp:published |
gptkb:1968
|
| gptkbp:published_by |
Heinemann
|
| gptkbp:published_in |
gptkb:1968
|
| gptkbp:publisher |
Heinemann
|
| gptkbp:reader_demographic |
varied opinions
|
| gptkbp:set_in |
gptkb:Ghana
|
| gptkbp:setting |
gptkb:Ghana
|
| gptkbp:style |
poetic language
realism stream of consciousness symbolic imagery |
| gptkbp:symbolism |
the river
the city the market the home the train the train station |
| gptkbp:thematic_element |
gptkb:moral_ambiguity
|
| gptkbp:theme |
gptkb:corruption
|
| gptkbp:themes |
gptkb:existentialism
gptkb:corruption gptkb:identity disillusionment |
| gptkbp:translated_into |
gptkb:French
gptkb:Spanish gptkb:German multiple languages |
| gptkbp:writings |
examined in academia
|
| gptkbp:written_by |
gptkb:Ayi_Kwei_Armah
|
| gptkbp:bfsParent |
gptkb:Ayi_Kwei_Armah
|
| gptkbp:bfsLayer |
5
|