This article brings together Christian theology, creative literature and history in the current spirit of interdisciplinary scholarship. It endeavours to unveil, in the first place, the image painted of Nigeria as a post-colonial entity in the novel, Purple Hibiscus, by the award-winning writer, Chimamanda Ngozi Adichie. Through the events, characters and realities employed by her in painting the above-mentioned image of Nigeria, it is evident that the historical period captured is most likely located in the military regimes of Ibrahim Babangida (1985–93) and Sani Abacha (1993–98). The article then considers the role that the Catholic Church in Nigeria, especially its hierarchy, played during the period and what that performance of such has to say to the same church leaders in Nigeria, today. These reflections stand inside the emerging tradition of a public theology in Nigeria.

中文翻译：

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Chimamanda Ngozi Adichie 的紫芙蓉中尼日利亚教会的预言作用和后殖民肖像

本文以当前跨学科学术精神将基督教神学、创造性文学和历史结合在一起。它首先试图揭开小说中描绘的尼日利亚作为后殖民实体的形象，紫芙蓉，由获奖作家 Chimamanda Ngozi Adichie 撰写。通过她描绘上述尼日利亚形象所运用的事件、人物和现实，可以看出所捕捉的历史时期极有可能位于易卜拉欣·巴班吉达（1985-93）和萨尼·阿巴查（1993-）的军政府时期。 98). 然后，文章考虑了尼日利亚天主教会在这一时期所扮演的角色，尤其是其等级制度，以及这种表现对今天尼日利亚的同一教会领袖有何影响。这些反思立足于尼日利亚新兴的公共神学传统。