{"id":25364,"date":"2025-09-11T15:42:28","date_gmt":"2025-09-11T13:42:28","guid":{"rendered":"https:\/\/www.ifeas.uni-mainz.de\/?page_id=25364"},"modified":"2025-12-09T15:25:01","modified_gmt":"2025-12-09T14:25:01","slug":"jahn-library","status":"publish","type":"page","link":"https:\/\/www.ifeas.uni-mainz.de\/en\/jahn-library\/","title":{"rendered":"Jahn Library for African Literatures"},"content":{"rendered":"\n<\/jgu-base-pageheader>\n \n<\/jgu-base-anchornavigation>\n
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The Jahn Library comprises a unique collection of literary works in over ninety languages, including the former colonial languages and numerous African languages. Some of the collected books are also interesting as objects, e.g. as first editions of important works or as book copies with handwritten dedications by authors, but also in terms of what their design reveals about the respective publication context. The Jahn Library is one of the university library’s special collections and represents one of the Johannes Gutenberg University Collections. Furthermore, it is closely associated with the Department of Anthropology and African Studies. <\/p>\n\n\n\n

The Jahn Library originated as the private collection of Janheinz Jahn (1918-1973), whose interest in African literature was awakened in 1951 during a lecture by the Senegalese poet and statesman L\u00e9opold S\u00e9dar Senghor in Frankfurt\/Main. Through his work as a translator, publisher, bibliographer, author and freelance journalist, Jahn contributed significantly to the public perception of African literature in Germany, but also worldwide. The Jahn Library is used by students and researchers at the JGU Mainz as well as by international visiting scholars; and it is also available to the wider public. <\/p>\n\n\n\n

In addition to the seminar courses on African literature regularly offered at the department, the Jahn Library organises international Janheinz Jahn Symposia, readings with writers from Africa, as well as other events (such as exhibitions, workshops, lectures, library tours) at irregular intervals.<\/p>\n<\/div>\n\n\n\n

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In 2025, the Jahn Library for African Literature will be 50 years old. We would like to celebrate this with a Jahn Symposium on 24 and 25 November without making the Jahn Library itself the exclusive focus of attention. <\/p>\n\n\n\n

The Jahn Library is a great asset for the department, the JGU Mainz, the city of Mainz and even for Germany. However, it is at least as important and wonderful that in recent years, libraries with a focus on African literature have also been founded in major cities in Africa as well as in other cities in Germany. These libraries are the focus of the 12th International Jahn Symposium and will be celebrated together with the Jahn Library. <\/p>\n\n\n\n

Libraries are not “just” places where books are housed or made accessible to the public, but also places of encounter and identity formation. They are the setting for events where literature (in the broadest sense) is performed and participated. They are places of learning where further education and workshops \u2013 or simply some space to read or study \u2013 are offered, and sometimes they even provide space for the creation of new literature, when they invite people to take up writing residencies or are used individually for writing. <\/p>\n\n\n\n

During the symposium, the guests will introduce their respective libraries to one other. They will talk about the motivation behind the founding of their libraries as well as the history of the libraries to date, about the contexts and focal points of the various collections of African literature, and about their diverse activities, both in social media and with event programmes and other offers on site. They will share the impressive successes that their libraries have celebrated so far (the very existence of each individual library is a success story!), but also the challenges they have faced and the problems they have been confronted with. <\/p>\n\n\n\n

The invited representatives of the libraries are people who have been involved, in one way or another, in the founding of libraries with African literature or who are currently managing them. Like Janheinz Jahn, these people \u2013 like their predecessors or colleagues \u2013 started collecting African literature as private individuals with different motivations and in different contexts and eventually made these collections accessible to a wider public in the form of a library, with great personal and financial commitment and, in most cases, on a part-time basis and not as employees of national or university libraries. <\/p>\n\n\n\n

Libraries represented (in alphabetic order): 1949books (Abidjan) with Edwige Dro, the African Poetry Library Kampala with Gloria Kiconco, the African Poetry Library Nairobi with Billy Kahora, the Afroth\u00e8que (Dakar) with Papa Malick Barros, the Jahn Library for African Literatures (Mainz) with Anja Oed, the Library of Africa and the African Diaspora (Accra) with Sylvia Arthur and Seth Avusuglo, the Natubelenge Children’s Library (Lusaka) with Mainess Chilumbwa and Nachizo Manza, the Black Children’s Library (Bremen) with Sheeko Ismail as well as the Theodor Wonja Michael Library (Cologne) with Glenda Obermuller. <\/p>\n\n\n\n

Den Abschluss des Symposiums bildet eine \u00f6ffentliche Lesung mit Edwige Dro, Gloria Kiconco und Billy Kahora, die alle auch als Bibliotheks-Akteur:innen am Symposium teilnehmen und 1949books in Abidjan bzw. die African Poetry Libraries in Kampala (Uganda) und Nairobi (Kenia) vertreten. Die Lesung findet im Rahmen des ifeas-Institutskolloquiums im WiSe 2025\/26 statt. Im Anschluss l\u00e4dt die Jahn-Bibliothek zu einem feierlichen Umtrunk ein. <\/p>\n\n\n<\/jgu-base-accordionitem>\n\n<\/jgu-base-accordion>\n<\/div><\/div>\n<\/jgu-base-section>\n

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Janheinz Jahn not only collected African literature, but also works by Black writers from Europe, North America, the Caribbean and South America. Today, the focus of the collection is on literature by writers from Africa (especially south of the Sahara) or with an African migration background. This also includes works by authors from the so-called New African Diaspora or by authors in Europe, North America and other parts of the world who are described as ‘Afropolitan’. Relevant academic literature is also collected. <\/p>\n\n\n\n \n<\/jgu-base-buttonitem>\n\n<\/jgu-base-button>\n\n<\/jgu-base-accordionitem>\n\n\n \n\n

In principle, literary works are collected in all languages used by writers from Africa: the former colonial languages as well as numerous African languages. From today’s perspective, this seems self-evident; in the 1950s and 1960s, the academic conception of African literature \u2013 regardless of the language in which it was written and thus also in distinction from European national literatures \u2013 as a relevant category in its own right was a novelty. <\/p>\n\n\n<\/jgu-base-accordionitem>\n\n\n \n\n

The collection of the Jahn Library for African Literature can be searched via the University Library catalogues. The shelf marks are historically interesting because they reflect Jahn’s conception of African and, originally, ‘neo-African’ literature. <\/p>\n\n\n\n \n<\/jgu-base-buttonitem>\n\n<\/jgu-base-buttonitem>\n\n<\/jgu-base-button>\n\n\n

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Shelf marks<\/strong><\/p>\n\n\n\n

JA Bibliographies<\/a><\/strong><\/p>\n\n\n\n

JB Reference works<\/a><\/strong><\/p>\n\n\n\n

JC Anthologies<\/a><\/strong><\/p>\n\n\n\n

JC1 Cross-continental<\/p>\n\n\n\n

JC2 Africa<\/p>\n\n\n\n

JC3 America<\/p>\n\n\n\n

JE Cross-regional critical sources<\/strong><\/a><\/p>\n\n\n\n

JE1 Cross-continental<\/p>\n\n\n\n

JE2 Africa<\/p>\n\n\n\n

JE3 America<\/p>\n\n\n\n

JF West Africa<\/a><\/strong><\/p>\n\n\n\n

JF1 General critical sources<\/p>\n\n\n\n

JF2 Anthologies<\/p>\n\n\n\n

JF3 Critical sources on individual writers<\/p>\n\n\n\n

JF4 Literary works by individual writers<\/p>\n\n\n\n

Literature in West African languages has the call number JF followed by an abbreviation of the respective language (JF BAM – JF YOR, see overview under African-Language Literatures), e.g. JF YOR for literature written in Yor\u00f9b\u00e1, associated secondary literature and translations of literary texts from Yor\u00f9b\u00e1 or into Yor\u00f9b\u00e1:<\/p>\n\n\n\n

JF YOR1 General critical sourcesJF YOR2 AnthologiesJF YOR3 Critical sources on individual writersJF YOR4 Literary works by individual writersJF YOR5 Translations of literary works by individual writers from the Yor\u00f9b\u00e1JF YOR6 Translations of literary works by individual writers into Yor\u00f9b\u00e1<\/p>\n\n\n\n

JG Central Africa<\/a><\/strong><\/p>\n\n\n\n

JG1 General critical sources<\/p>\n\n\n\n

JG2 Anthologies<\/p>\n\n\n\n

JG3 Critical sources on individual writers<\/p>\n\n\n\n

JG4 Literary works by individual writers<\/p>\n\n\n\n

Literature in Central African languages has the call number JG followed by an abbreviation of the respective language (JG GBA – JG LUB, see overview), e.g. JG KON for literature written in Congo or Kikongo, associated secondary literature and translations of literary texts from Congo\/Kikongo or into Congo\/Kikongo:<\/p>\n\n\n\n

JG KON1 General critical sourcesJG KON2 AnthologiesJG KON3 Critical sources on individual writersJG KON4 Literary works by individual writersJG KON5 Translations of literary works by individual writers from the Kongo\/KikongoJG KON6 Translations of primary literature by individual authors into Kongo\/Kikongo<\/p>\n\n\n\n

JH East Africa<\/a><\/strong><\/p>\n\n\n\n

JH1 General critical sources<\/p>\n\n\n\n

JH2 Anthologies<\/p>\n\n\n\n

JH3 Critical sources on individual writers<\/p>\n\n\n\n

JH4 Literary works by individual writers<\/p>\n\n\n\n

Literature in East African languages has the call number JH followed by an abbreviation of the respective language (JH ACH – JH VID, see overview), e.g. JH SWA for literature written in Swahili or Kiswahili, associated secondary literature and translations of literary texts from Swahili\/Kiswahili or into Swahili\/Kiswahili:<\/p>\n\n\n\n

JH SWA1 General critical sourcesJH SWA2 AnthologiesJH SWA3 Critical sources on individual writersJH SWA4 Literary works by individual writersJH SWA5 Translations of literary works by individual writers from Swahili\/KiswahiliJH SWA6 Translations of literary works by individual writers into Swahili\/Kiswahili<\/p>\n\n\n\n

JK South Africa<\/a><\/strong><\/p>\n\n\n\n

JK1 General critical sources<\/p>\n\n\n\n

JK2 Anthologies<\/p>\n\n\n\n

JK3 Critical sources on individual writers<\/p>\n\n\n\n

JK4 Literary works by individual writers<\/p>\n\n\n\n

Literature in South African languages has the call number JK followed by an abbreviation of the respective language (JK AFR – JK ZUL, see overview), e.g. JK ZUL for literature written in Zulu, associated secondary literature and translations of literary texts from Zulu or into Zulu:<\/p>\n\n\n\n

JK ZUL1 General critical sourcesJK ZUL2 AnthologiesJK ZUL3 Critical sources on individual writersJK ZUL4 Literary works by individual writersJK ZUL5 Translations of literary works by individual writers from the ZuluJK ZUL6 Translations of literary works by individual writers into Zulu<\/p>\n\n\n\n

JL North America<\/strong><\/a><\/p>\n\n\n\n

JL1 General critical sources<\/p>\n\n\n\n

JL2 Anthologies<\/p>\n\n\n\n

JL3 Critical sources on individual writers<\/p>\n\n\n\n

JL4 Literary works by individual writers<\/p>\n\n\n\n

JM Caribbean<\/strong><\/a><\/p>\n\n\n\n

JM1 General critical sources<\/p>\n\n\n\n

JM2 Anthologies<\/p>\n\n\n\n

JM3 Critical sources on individual writers<\/p>\n\n\n\n

JM4 Literary works by individual writers<\/p>\n\n\n\n

JN South America<\/strong><\/a><\/p>\n\n\n\n

JN1 General critical sources<\/p>\n\n\n\n

JN2 Anthologies<\/p>\n\n\n\n

JN3 Critical sources on individual writers<\/p>\n\n\n\n

JN4 Literary works by individual writers<\/p>\n\n\n\n

JO Pacific <\/strong><\/a><\/p>\n\n\n\n

JO1 General critical sources<\/p>\n\n\n\n

JO2 Anthologies<\/p>\n\n\n\n

JO3 Critical sources on individual writers<\/p>\n\n\n\n

JO4 Literary works by individual writers<\/p>\n\n\n\n

JP North Africa<\/strong><\/a><\/p>\n\n\n\n

JP1 General critical sources<\/p>\n\n\n\n

JP2 Anthologies<\/p>\n\n\n\n

JP3 Critical sources on individual writers<\/p>\n\n\n\n

JP4 Literary works by individual writers<\/p>\n\n\n\n

JR Europe<\/strong><\/a><\/p>\n\n\n\n

JR1 General critical sources<\/p>\n\n\n\n

JR2 Anthologies<\/p>\n\n\n\n

JR3 Critical sources on individual writers<\/p>\n\n\n\n

JR4 Literary works by individual writers<\/p>\n\n\n\n

JZ Journals<\/a><\/strong><\/p>\n\n\n<\/jgu-base-accordionitem>\n\n\n \n\n

The Jahn Library also collects comics and graphic novels by writers and artists from Africa. The department regularly offers seminar courses on this topic. <\/p>\n\n\n\n

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From A as in Acholi to Z as in Zulu<\/strong><\/p>\n\n\n\n \n<\/jgu-base-image>\n\n\n

The collection of books related to creative writing in African languages is, first of all, structured regionally: JF (West Africa), JG (Central Africa), JH (East Africa) und JK (Southern Africa). Furthermore, each language has a code derived, in most cases, from the initial letters of one of its designations. <\/p>\n\n\n\n

The holdings in each language are further subdivided into general critical sources on creative writing in that language (1), anthologies in that language (2), critical sources on individual writers of that language (3), and literary works by individual writers in that language (4). Additionally, there are translations of literary works by individual writers from that language (5) and translations of literary works by individual writers into that language (6), e.g.:JF YOR1 General critical sourcesJF YOR2 AnthologiesJF YOR3 Critical sources on individual writersJF YOR4 Literary works by individual writersJF YOR5 Translations of literary works by individual writers from the Yor\u00f9b\u00e1JF YOR6 Translations of literary works by individual writers into Yor\u00f9b\u00e1 <\/p>\n\n\n\n

Literary works in African languages are organised alphabetically according to the initial letters of writers’ names, as are critical sources on individual writers and translations of literary works by individual writers. Titles in categories 1 and 2 are numbered consecutively, titles in categories 3, 4 , 5 and 6 are numbered consecutively within the individual author shelf marks. <\/p>\n\n\n\n

Alphabetical list of African languages and their shelf marks in the Jahn Library<\/strong><\/p>\n\n\n\n

Acholi<\/a><\/td>JH ACH<\/td><\/tr>
Adangme<\/a><\/td>JF DAN<\/td><\/tr>
Afrikaans<\/a><\/td>JK AFR<\/td><\/tr>
Akan<\/a><\/td>JF TWI<\/td><\/tr>
Akuapem-Twi<\/a><\/td>JF TWI<\/td><\/tr>
Amharic<\/a><\/td>JH AMH<\/td><\/tr>
Asante-Twi<\/a><\/td>JF TWI<\/td><\/tr>
Asu (Tanzania)<\/a><\/td>JH ASU<\/td><\/tr>
Bamanankan<\/a><\/td>JF BAM<\/td><\/tr>
Bambara<\/a><\/td>JF BAM<\/td><\/tr>
Bemba (Zambia)<\/a><\/td>JK BEM<\/td><\/tr>
Bini<\/a><\/td>JF EDO<\/td><\/tr>
Bulu<\/a><\/td>JF BUL<\/td><\/tr>
Caboverdiano<\/a><\/td>JF KEA<\/td><\/tr>
Calabar<\/a><\/td>JF EFI<\/td><\/tr>
Chewa<\/a><\/td>JK NYA<\/td><\/tr>
Chibemba<\/a><\/td>JK BEM<\/td><\/tr>
Chichewa<\/a><\/td>JK NYA<\/td><\/tr>
Chilunda<\/a><\/td>JK LUN<\/td><\/tr>
Chiluvale<\/a><\/td>JK LUV<\/td><\/tr>
Chinamwanga<\/a><\/td>JK MWA<\/td><\/tr>
Chinyanja<\/a><\/td>JK NYA<\/td><\/tr>
Chishona<\/a><\/td>JK SHO<\/td><\/tr>
Chitonga<\/a><\/td>JK TON<\/td><\/tr>
Chitshwa<\/a><\/td>JK TSH<\/td><\/tr>
Chitumbuka<\/a><\/td>JK TUM<\/td><\/tr>
Chivenda<\/a><\/td>JK VEN<\/td><\/tr>
Creole (Guinea-Bissau Creole)<\/a><\/td>JF POV<\/td><\/tr>
Creole (Krio, Sierra Leone)<\/a><\/td>JF KRI<\/td><\/tr>
Criol \/ Crioulo<\/a><\/td>JF KEA<\/td><\/tr>
Dangme<\/a><\/td>JF DAN<\/td><\/tr>
Dawida<\/a><\/td>JH TAI<\/td><\/tr>
Edo<\/a><\/td>JF EDO<\/td><\/tr>
Efik<\/a><\/td>JF EFI<\/td><\/tr>
Ewe<\/a><\/td>JF EWE<\/td><\/tr>
Fante<\/a><\/td>JF FAN<\/td><\/tr>
Fon<\/a><\/td>JF FON<\/td><\/tr>
Fula<\/a><\/td>JF FUL<\/td><\/tr>
Fulfulde<\/a><\/td>JF FUL<\/td><\/tr>
G\u00e3<\/a><\/td>JF GA<\/td><\/tr>
Ganda<\/a><\/td>JH GAN<\/td><\/tr>
Gene<\/a><\/td>JF GEN<\/td><\/tr>
Gbaya (variety: Gbaya-Kara)<\/a><\/td>JG GBA<\/td><\/tr>
G\u0129k\u0169y\u0169<\/a><\/td>JH GIK<\/td><\/tr>
Guinea-Bissau Creole<\/a><\/td>JF POV<\/td><\/tr>
Guingb\u00e9<\/a><\/td>JF GEN<\/td><\/tr>
Gusii<\/a><\/td>JH GUS<\/td><\/tr>
Hausa<\/a><\/td>JF HAU<\/td><\/tr>
Herero<\/a><\/td>JK HER<\/td><\/tr>
Ibibio<\/a><\/td>JF EFI<\/td><\/tr>
Ichibemba<\/a><\/td>JK BEM<\/td><\/tr>
Ichinamwanga<\/a><\/td>JK MWA<\/td><\/tr>
Idoma<\/a><\/td>JF IDO<\/td><\/tr>
Igbo<\/a><\/td>JF IGB<\/td><\/tr>
Isiswazi<\/a><\/td>JK SWA<\/td><\/tr>
Isixhosa<\/a><\/td>JK XHO<\/td><\/tr>
Isizulu<\/a><\/td>JK ZUL<\/td><\/tr>
Kabuverdiano<\/a><\/td>JF KEA<\/td><\/tr>
Kalenjin<\/a><\/td>JH KAL<\/td><\/tr>
Kamba<\/a><\/td>JH KAM<\/td><\/tr>
Kanuri<\/a><\/td>JF KAN<\/td><\/tr>
Kaonde<\/a><\/td>JK KAO<\/td><\/tr>
Kerewe<\/a><\/td>JH KER<\/td><\/tr>
Kidawida<\/a><\/td>JH TAI<\/td><\/tr>
Kikamba<\/a><\/td>JH KAM<\/td><\/tr>
Kikerewe<\/a><\/td>JH KER<\/td><\/tr>
Kikongo<\/a><\/td>JG KON<\/td><\/tr>
Kimbundu<\/a><\/td>JK MBUN<\/td><\/tr>
Kinyarwanda<\/a><\/td>JH RWA<\/td><\/tr>
Kipare<\/a><\/td>JH ASU<\/td><\/tr>
Kirundi<\/a><\/td>JH RUN<\/td><\/tr>
Kiswahili<\/a><\/td>JH SWA<\/td><\/tr>
Kitaita<\/a><\/td>JH TAI<\/td><\/tr>
Kitshwa<\/a><\/td>JK TSH<\/td><\/tr>
Kituba<\/a><\/td>JG KIT<\/td><\/tr>
Congo<\/a><\/td>JG KON<\/td><\/tr>
Creole<\/a><\/td>JH MFE<\/td><\/tr>
Kreol Seselwa<\/a><\/td>JH SES<\/td><\/tr>
Krio (Sierra Leone)<\/a><\/td>JF KRI<\/td><\/tr>
Kriol (Cape Verde)<\/a><\/td>JF KEA<\/td><\/tr>
Krobo<\/a><\/td>JF DAN<\/td><\/tr>
Kwanyama<\/a><\/td>JK KWA<\/td><\/tr>
Lenje<\/a><\/td>JK LEN<\/td><\/tr>
Lingala<\/a><\/td>JG LIN<\/td><\/tr>
Lozi<\/a><\/td>JK LOZ<\/td><\/tr>
Luanda<\/a><\/td>JK MBUN<\/td><\/tr>
Luba-Kasai<\/a><\/td>JG LUB<\/td><\/tr>
Luganda<\/a><\/td>JH GAN<\/td><\/tr>
Luluyia<\/a><\/td>JH LUY<\/td><\/tr>
Lunda (Zambia)<\/a><\/td>JK LUN<\/td><\/tr>
Luo (Kenya)<\/a><\/td>JH LUO<\/td><\/tr>
Luo (Uganda)<\/a><\/td>JH ACH<\/td><\/tr>
Luvale<\/a><\/td>JK LUV<\/td><\/tr>
Luyia<\/a><\/td>JH LUY<\/td><\/tr>
Lwo (Uganda)<\/a><\/td>JH ACH<\/td><\/tr>
Maasai<\/a><\/td>JH MAA<\/td><\/tr>
Malagasy<\/a><\/td>JH MAL<\/td><\/tr>
Marka<\/a><\/td>JF SON<\/td><\/tr>
Masai<\/a><\/td>JH MAA<\/td><\/tr>
Maurisyen<\/a><\/td>JH MFE<\/td><\/tr>
Mauritius Creole French<\/a><\/td>JH MFE<\/td><\/tr>
Mbukushu<\/a><\/td>JK MBU<\/td><\/tr>
Mbundu<\/a><\/td>JK MBUN<\/td><\/tr>
Morisyen<\/a><\/td>JH MFE<\/td><\/tr>
Mwanga<\/a><\/td>JK MWA<\/td><\/tr>
Nama<\/a><\/td>JK NAM<\/td><\/tr>
Ndebele<\/a><\/td>JK NDE<\/td><\/tr>
Ndonga<\/a><\/td>JK NDO<\/td><\/tr>
Northern Sotho<\/a><\/td>JK SEP<\/td><\/tr>
Nyanja<\/a><\/td>JK NYA<\/td><\/tr>
Nyamwanga<\/a><\/td>JK MWA<\/td><\/tr>
Nyoro-Tooro<\/a><\/td>JH NYO<\/td><\/tr>
Nzema<\/a><\/td>JF NZE<\/td><\/tr>
Ochindonga<\/a><\/td>JK NDO<\/td><\/tr>
Oromo<\/a><\/td>JH ORO<\/td><\/tr>
Otjiwambo<\/a><\/td>JK NDO<\/td><\/tr>
Ovambo<\/a><\/td>JK NDO<\/td><\/tr>
Owambo<\/a><\/td>JK NDO<\/td><\/tr>
Pare<\/a><\/td>JH ASU<\/td><\/tr>
Patois (Krio, Sierra Leone)<\/a><\/td>JF KRI<\/td><\/tr>
Peul<\/a><\/td>JF FUL<\/td><\/tr>
Portuguese Creole<\/a><\/td>JF POV<\/td><\/tr>
R\u00e9union Creole French<\/a><\/td>JH RCF<\/td><\/tr>
Round<\/a><\/td>JH RUN<\/td><\/tr>
Runyoro-Rutooro<\/a><\/td>JH NYO<\/td><\/tr>
Rwanda<\/a><\/td>JH RWA<\/td><\/tr>
Sepedi<\/a><\/td>JK SEP<\/td><\/tr>
Seselwa Creole French<\/a><\/td>JH SES<\/td><\/tr>
Sesotho<\/a><\/td>JK SES<\/td><\/tr>
Setswana<\/a><\/td>JK TSW<\/td><\/tr>
Shitsonga<\/a><\/td>JK TSO<\/td><\/tr>
Shona<\/a><\/td>JK SHO<\/td><\/tr>
Silozi<\/a><\/td>JK LOZ<\/td><\/tr>
Siswati<\/a><\/td>JK SWA<\/td><\/tr>
Somali<\/a><\/td>JH SOM<\/td><\/tr>
Songhai<\/a><\/td>JF SON<\/td><\/tr>
Soninke<\/a><\/td>JF SNK<\/td><\/tr>
Southern Sotho <\/a><\/td>JK SES<\/td><\/tr>
Swahili<\/a><\/td>JH SWA<\/td><\/tr>
Swati<\/a><\/td>JK SWA<\/td><\/tr>
Taita<\/a><\/td>JH TAI<\/td><\/tr>
Tem<\/a><\/td>JF TEM<\/td><\/tr>
Tigrinya<\/a><\/td>JH TIG<\/td><\/tr>
Thimbukushu<\/a><\/td>JK MBU<\/td><\/tr>
Tiv<\/a><\/td>JF TIV<\/td><\/tr>
Tonga (Zambia)<\/a><\/td>JK TON<\/td><\/tr>
Tshiluba<\/a><\/td>JG LUB<\/td><\/tr>
Tshwa<\/a><\/td>JK TSH<\/td><\/tr>
Tsonga<\/a><\/td>JK TSO<\/td><\/tr>
Tswa<\/a><\/td>JK TSH<\/td><\/tr>
Tswana<\/a><\/td>JK TSW<\/td><\/tr>
Tumbuka<\/a><\/td>JK TUM<\/td><\/tr>
Twi<\/a><\/td>JF TWI<\/td><\/tr>
Umbundu<\/a><\/td>JK MBUN<\/td><\/tr>
Urundi<\/a><\/td>JH RUN<\/td><\/tr>
Venda<\/a><\/td>JK VEN<\/td><\/tr>
Vidunda<\/a><\/td>JH VID<\/td><\/tr>
Wolof<\/a><\/td>JF WOL<\/td><\/tr>
Xhosa<\/a><\/td>JK XHO<\/td><\/tr>
Yor\u00f9b\u00e1<\/a><\/td>JF YOR<\/td><\/tr>
Zambezi<\/a><\/td>JK TON<\/td><\/tr>
Zulu<\/a><\/td>JK ZUL<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n<\/jgu-base-accordionitem>\n\n\n \n\n

Janheinz Jahn as translator<\/strong><\/p>\n\n\n\n

In view of Jahn’s cross-linguistic understanding of African literatures and the actual diversity of languages used by writers from Africa when composing their works, translations are of crucial importance. Translations are therefore an important part of the Jahn Library’s collection. <\/p>\n\n\n\n \n<\/jgu-base-image>\n\n\n

Janheinz Jahn himself also acted not only as a mediator of literature from Africa in Germany \u2013 and thus as a translator in a broader sense \u2013 but also quite literally as a translator of literary works. An early result of this work is the anthology Schwarzer Orpheus<\/em>, which includes poems by Black writers from the Global South and North translated into German by Jahn. The publication of this anthology in 1954 marked the beginning of a wider reception of African literature in Germany. In 1970, Jahn was awarded the Translator’s Prize of the German Academy for Language and Poetry. <\/p>\n\n\n\n \n<\/jgu-base-image>\n\n\n

Translations into German or world languages<\/strong><\/p>\n\n\n\n

Jahn’s own translations of African or ‘neo-African’ literature were primarily concerned with making the respective works and their authors internationally known and accessible in Germany.<\/p>\n\n\n\n

To this day, attempts are being made to collect German translations of works by writers from Africa as completely as possible. In addition, where available, English translations of Francophone and Lusophone titles are collected; to a much lesser extent, French translations of Anglophone titles, etc. Individual translations into other European or Asian languages in the Jahn Library are mostly donations. <\/p>\n\n\n\n

World literature translated into African languages, as well as from African languages<\/strong><\/p>\n\n\n\n

In addition, translations of creative writing in African languages into German, English, French or other African languages, which have appeared increasingly in recent years, are also collected, as well as translations of world literature into African languages. Occasionally, literary works in African languages are published as bilingual editions. <\/p>\n\n\n\n

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‘A tradition of its own, not founded in Europe’: Jahn’s Neo African Literature: A History of Black Writing<\/em><\/strong><\/p>\n\n\n\n \n<\/jgu-base-image>\n\n\n

In line with his notion of ‘neo-African’ literature, which is now considered outdated (and problematic), Janheinz Jahn collected not only African literature, but also works by Black writers from other parts of the world. These books are still part of the Jahn Library today, although this part of the collection is no longer being systematically expanded. <\/p>\n\n\n\n

Jahn set out the considerations underlying his original collection principle in Neo-African Literature: A History of Black Writing<\/em> (1969), among others. He first problematised the categorisation of literatures according to languages \u2013 a “handy method of classification which”, as he elaborated, “was justifiable enough until the beginning of [the twentieth] century” when “[l]iterature was national literature, the nation from a literary point of view was identical with the area where the language was used” (1969: 16). In the twentieth century, North American literature was the first to break away from Europe: writers no longer “defer[red] to European judgment” but <\/p>\n\n\n\n

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<\/p>\ngradually discovered that their literature had tradition of its own. When an overseas literature breaks away from Europe, it gains its independence through finding such a tradition, whether based on specific experiences in history or on a non-European spiritual heritage; and it will still be independent even if it goes on using a European language. (Jahn 1969: 18) <\/cite><\/blockquote>\n\n\n\n

‘Modern’, but also ‘African’: Jahn’s search for the common denominator of ‘neo-African’ literature<\/strong><\/p>\n\n\n\n

Jahn argued that even works by writers from Africa and the African diaspora could not necessarily be categorized according to the language in which they were created. Literature, he postulated, could be <\/p>\n\n\n\n

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<\/p>\nonly be classified by style and by the attitudes revealed: more precisely, by studying the individual works, analysing their styles and attitudes and grouping them accordingly, then fitting them into a tradition of similar styles and attitudes.<\/cite><\/blockquote>\n\n\n\n

This was the only way to classify “literary works into groups relevant in terms of literary studies” (1969: 21-22).<\/p>\n\n\n\n

Jahn (1969:22) was convinced that one of these groups relevant in terms of literary studies \u2013 across all language boundaries and also across national and regional borders, but taking into account the aforementioned stylistic and thought structures \u2013 was what he referred to as ‘neo-African literature’, which was ‘modern’ (i.e. influenced by Europe) on the one hand, but also bore witness to ‘African roots’ on the other:<\/p>\n\n\n\n

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<\/p>\nNeo-African literature … is the heir of two traditions: traditional African literature and Western literature. A work which shows no European influences … belongs to traditional African literature, not neo-African. … Conversely, a work which reveals no African stylistic features or patterns of expression belongs to Western, not neo-African literature, even if written by an African. (1966: 16)<\/cite><\/blockquote>\n\n\n\n

Even at that time, however, Jahn (1969: 22) himself already conceded that “[a]lthough theoretically simple, the distinction is hard to make in practice, for it assumes that the styles, patterns of expression and attitudes produced by Africa’s traditions are well known. But they are not”. <\/p>\n\n\n\n

What remains? African literature across all linguistic boundaries <\/strong><\/p>\n\n\n\n

The notion of a neo-African literature may be outdated and problematic from today’s perspective \u2013 Jahn himself only spoke of African literature a few years later in the Bibliography of Creative African Writing<\/em> (1971), which he published together with Claus Peter Dressler, and the Who’s Who in African Literature<\/em> (1972), which he published together with Ulla Schild and Almut Nordmann. However, it was the prerequisite for Jahn’s pioneering conception of an independent African literature. The fact that he was able to see African literature in this way was probably thanks to L.S. Senghor, who had read poems written not only in French but also in Wolof during the lecture that Jahn attended in 1951. The ‘kinship relationship’ to Africa expressed in Jahn’s notion of a neo-African literature or culture played an important identity-forming role for writers and intellectuals of the so-called African diaspora at the time. Last but not least, Jahn’s work helped connect Black from all over the world with one another (cf. Jahn 1954). <\/p>\n\n\n\n

References<\/strong><\/p>\n\n\n\n