{"id":1355,"date":"2023-07-31T21:00:00","date_gmt":"2023-07-31T21:00:00","guid":{"rendered":"https:\/\/atras-univ-saida.dz\/en\/?p=1355"},"modified":"2025-02-01T15:41:48","modified_gmt":"2025-02-01T15:41:48","slug":"hamartia-in-effiong-johnsons-the-stolen-manuscript","status":"publish","type":"post","link":"https:\/\/atras-univ-saida.dz\/en\/?p=1355","title":{"rendered":"Article 05 Issue 02 VOL 4 January 2023"},"content":{"rendered":"\n<div id=\"section-g5eb97d\" class=\"wp-block-gutentor-e1 section-g5eb97d gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-center-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Title:&nbsp;<strong><strong><strong>Hamartia in Effiong Johnson&#8217;s<em> The Stolen Manuscript<\/em><\/strong><\/strong><\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-gade5d4\" class=\"wp-block-gutentor-e1 section-gade5d4 gutentor-element gutentor-element-advanced-text text-align-center-desktop text-align-center-tablet text-align-center-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\"><strong><strong><strong><strong><strong>Emmanuel Bunduga Tyogema<\/strong><\/strong><br>Gombe State University, Nigeria<\/strong><\/strong><\/strong><\/p><\/div><\/div>\n\n\n\n<div id=\"section-g166f8c\" class=\"wp-block-gutentor-e1 section-g166f8c gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Abstract<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g149753\" class=\"wp-block-gutentor-e1 section-g149753 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">The artist striving for truth or sincerity had to guard his spontaneous vision against distortion or alteration by aesthetic conventions or preoccupations\u201d Linda Nochlin (2006). A perpetrator of evil spends time and energy plotting how to pull his or her prey down, unknown to the target victim; life goes on normally with him or her. It is easier to do good than bad, and even much more beneficial.&nbsp; This research work disabuses the minds of the readers against evil acts which are often natural and justifiable by the standard of vices such as hatred, nepotism,&nbsp; envy, jealousy, and lack of growth mindset as seen in the character of Dr Martin and his accomplice, Mr Bayo. These weaknesses have been pointed out elsewhere, especially in the play of Sophocles \u2018<em>Oedipus Rex\u2019<\/em> but not in Effiong\u2019s <em>The Stolen Manuscript<\/em> which is peculiar to the Nigeria and Africa society.&nbsp;&nbsp; Realism as the lens through which the paper sponges and communicate the good and bad tendencies of characters in the play is deliberate. This allows the reader to make a choice, hence both sides are laid bare, though the paper is tilted towards good, and evil is punished leading to the hamartia of Dr Martin and Mr. Bayo.&nbsp; A man who is not eminently good and just yet whose misfortune is brought about not by vice or depravity but by some error or frailty (Aristotle). Tragedy does happen but not without a cause, there is always a prompter in this case: jealousy. This research shows the outcome of hard work, through Ukeme and retribution of evil jealousy through Martins. The ladder of academic prowess is accessible for willing and intending academics both in and out of educational institutions.<\/p><\/div><\/div>\n\n\n\n<div id=\"section-gbf54f7\" class=\"wp-block-gutentor-e1 section-gbf54f7 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong>Keywords:<\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g98f606\" class=\"wp-block-gutentor-e1 section-g98f606 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Effiong Johnson, envy, hamartia, <em>The Stolen<\/em>, manuscript<\/p><\/div><\/div>\n\n\n<div class=\"wp-block-image wp-duotone-magenta-yellow\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/drive.google.com\/file\/d\/1qHKWczZGnnNgmLVJuXwmPYiAlqzm_Jbc\/view?usp=sharing\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"278\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png\" alt=\"\" class=\"wp-image-1136\" style=\"width:183px;height:auto\" srcset=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2.png 1000w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-300x83.png 300w, https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2024\/06\/image-2-768x214.png 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n<\/div>\n\n\n<div id=\"section-g559404\" class=\"wp-block-gutentor-e1 section-g559404 gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong>How to Cite this Paper:<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-ge737f7\" class=\"wp-block-gutentor-e1 section-ge737f7 gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Tyogema, E. B. (2023). Hamartia in Effiong Johnson&#8217;s<em> The Stolen Manuscript<\/em>. <em>Atras Journal, 4<\/em>(2), 58-67.<\/p><\/div><\/div>\n\n\n\n<div id=\"section-g8a6edc\" class=\"wp-block-gutentor-e1 section-g8a6edc gutentor-element gutentor-element-advanced-text text-align-left-desktop text-align-left-tablet text-align-left-mobile\"><div class=\"gutentor-text-wrap\"><h1 class=\"gutentor-text\"><strong><strong>References<\/strong><\/strong><\/h1><\/div><\/div>\n\n\n\n<div id=\"section-g6804ca\" class=\"wp-block-gutentor-e1 section-g6804ca gutentor-element gutentor-element-advanced-text text-align-justify-desktop text-align-justify-tablet text-align-justify-mobile\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Albert A. S. (2010). The Hamartial of Aristotle. <em>Legon Journal of the Humanities, 21<\/em>. <br>Abrams M.H., &amp; Geoffrey G. H. (2014). A Glossary of Literary Terms. <em>International&nbsp;&nbsp; Edition, Wadsworth Cengage Learning.<\/em><br>Barry, P. (2009). <em>Beginning Theory: An Introduction to Literary and Cultural Theory.<\/em> Manchester and New York: Manchester University Press.<br>Effiong J. (2001). <em>The Stolen Manuscript.<\/em> Caltop Publications (Nigeria) Limited.&nbsp;<br>Golden L.&nbsp; (1978). Hamartia, Ate and Oedipus. <em>Classical World: A Quarterly Journal on&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Antiquity, 72, <\/em>3-12.<br>Hall R. (1993). Hamartial and Heroic Nobility in Oedipus Rex: Philosophy and Literature, <em>17<\/em>(2), 286-94<br>&nbsp;McGuinnes P. (2000) <em>Marterlinck and the making of Modern Theatre.<\/em> Oxford UP.<br>Merriam Webster. (2022). <em>Hamartia.<\/em>&nbsp; Merriam-Webster.com.&nbsp;<br>Encyclopedia Britannica. (2022). Hamartia (Ancient Greek) Error of Judgement or Tragic Flaw.<br>Nochlin L. (2006). <em>Bathers, bodies, beauty: The visceral eye.<\/em> Cambridge MA.: Harvard University Press.<br>Nereus Y. T. (2017). <em>Beginning Literature.<\/em>&nbsp; Ahmadu Bello University Press&nbsp; Limited, Zaria.<br>Shulrumpf, E. (1989). <em>Traditional Elements in the Concept of Hamartia in Aristotle\u2019s Poetics.<\/em> Harvard Studies in Classical Philosophy.<\/p><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"145\" height=\"50\" src=\"https:\/\/atras-univ-saida.dz\/en\/wp-content\/uploads\/2025\/01\/image.png\" alt=\"\" class=\"wp-image-2538\" style=\"width:119px;height:auto\"\/><\/figure>\n\n\n\n<div id=\"section-g-6264hl4\" class=\"wp-block-gutentor-e1 section-g-6264hl4 gutentor-element gutentor-element-advanced-text text-align-justify-desktop\"><div class=\"gutentor-text-wrap\"><p class=\"gutentor-text\">Copyright for all articles published in&nbsp;<strong>ATRAS&nbsp;<\/strong>belongs to the author. The authors also grant permission to the publisher to publish, reproduce, distribute, and transmit the articles.&nbsp;<strong>ATRAS&nbsp;<\/strong>publishes accepted papers under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License. Authors submitting papers for publication in&nbsp;<strong>ATRAS&nbsp;<\/strong>agree to apply the CC BY-NC 4.0 license to their work. For non-commercial purposes, anyone may copy, redistribute material, remix, transform, and construct material in any media or format, provided that the terms of the license are observed and the original source is properly cited.<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Effiong Johnson, envy, hamartia, The Stolen, manuscript<\/p>\n","protected":false},"author":2,"featured_media":1282,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[123],"tags":[144,146,147,145],"class_list":["post-1355","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vol-04-n02-2023","tag-effiong-johnson","tag-envy","tag-hamartia","tag-the-stolen"],"gutentor_comment":0,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Article 05 Issue 02 VOL 4 January 2023 - ATRAS 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