Tyrannical masculinity as gender inversion in Dangarembga’s she no longer weeps

  • Ogunmodede Olabisi Bukola
  • Owoeye Omolara Kikelomo
  • Olaniyan Kolawole Dennis


This study explores the portrayal of tyrannical masculinity as ‘gender inversion’ in Tsitsi Dangarembga’s She No Longer Weeps. The portraiture of tyranny as a hallmark of hegemonic masculinity is enhanced as male characters are depicted as inverted men, who assert their overarching masculinity as guaran teed by the power structure of patriarchy. The drama text is purposively selected as it reflects the socio-cultural expression of maleness in gender relations within the patriarchal society of Zimbabwe. Connell’s Hegemonic masculinity as an aspect of the g ender theory is employed to underpin the study. Through the monolithic presentation of male characters in the play, this paper submits that Dangarembga’s delineation of tyrannical male characters is an attitude of gender inversion of the image and identity of the man to invoke a change in the patriarchal status quo and achieve the empowerment of the female gender.


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eISSN: 1596-9231