The 21st century convergence of media through technological, industry and market conflations has altered the traditional work environment of the creative writer in Africa and the Global South due principally to problems/issues of digital divide/negotiation or migration which have altered modes/technologies for the creation, production, distribution, and consumption of letters. The global visibility of the African writer, like many academics in African universities, is challenged by digital migration, digital illiteracy or aliteracy. This study problematizes this digital exclusion from the contemporary digital world on account of the multiple dimensions of digital divide; and social and intellectual denial of access to the global literary forum. This preliminary study re-articulates the Nigerian writer's creative environment, production process and distribution of the literary product; using interviews, ethnographic interactions, and observations, to assess the writers’ (n: 62) digital literacy, competence, and issues of digital migration. Findings which were analyzed descriptively preliminarily point to the fact that media digitization actually challenges the Nigerian writer in ways that have impacted on his/her competence for literary creation/production,access and distribution within the ‘global literary forum’; a situation that may probably be seen as a common ‘disempowering’ experience for many creative writers in developing Global South.

中文翻译：

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非洲跨数字作家：在21世纪媒体融合中对尼日利亚/全球南方文学生产的初步审视

通过技术，行业和市场融合的21世纪媒体融合，改变了非洲和全球南方创意作家的传统工作环境，这主要是由于数字鸿沟/谈判或移徙的问题/问题已经改变了广告的模式/技术。创作，生产，分发和使用信件。与非洲大学的许多学者一样，非洲作家的全球知名度也受到数字移民，数字文盲或识字率的挑战。由于数字鸿沟的多重维度，这项研究使这种排除在当代数字世界之外的数字成为问题。以及社会和知识界人士拒绝访问全球文学论坛。这项初步研究重新阐明了尼日利亚作家的创作环境，文学作品的生产过程和发行；使用访谈，人种学互动和观察，评估作家（n：62）的数字素养，能力和数字迁移问题。描述性地分析发现的事实表明，媒体数字化实际上以某种方式挑战了尼日利亚作家，从而影响了他/她在“全球文学论坛”中的文学创作/生产，获取和传播的能力；对于开发《南方世界》的许多创意作家来说，这种情况可能被视为一种常见的“削弱能力”体验。描述性地分析发现的事实表明，媒体数字化实际上以某种方式挑战了尼日利亚作家，从而影响了他/她在“全球文学论坛”中的文学创作/生产，获取和传播的能力；对于开发《南方世界》的许多创意作家来说，这种情况可能被视为一种常见的“削弱能力”体验。描述性地分析发现的事实表明，媒体数字化实际上以某种方式挑战了尼日利亚作家，从而影响了他/她在“全球文学论坛”中的文学创作/生产，获取和传播的能力；对于开发《南方世界》的许多创意作家来说，这种情况可能被视为一种常见的“削弱能力”体验。