Relevant bibliographies by topics / Mythologie yoruba

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Academic literature on the topic 'Mythologie yoruba'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Mythologie yoruba"

1

Bondarenko, Dmitri M. "Advent of the Second (Oba) Dynasty: Another Assessment of a Benin History Key Point." History in Africa 30 (2003): 63–85. http://dx.doi.org/10.1017/s0361541300003144.

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There is no other theme in precolonial Benin Kingdom studies around which so many lances have been broken as that of consolidation of the present-day Second (Oba) dynasty and the person of its founder Oranmiyan (Oranyan in Yoruba). The main reason for this is the existence of considerable disagreements between numerous Bini and Yoruba versions of the oral historical tradition. Besides this, the story of Oranmiyan is one of the Bini and Yoruba oral history pages most tightly connected with mythology. This fact becomes especially important if one takes into account that the oral tradition is no
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Adeleke, Duro A. "Lessons from Yorùbá Mythology." Journal of Asian and African Studies 39, no. 3 (2004): 179–91. http://dx.doi.org/10.1177/0021909604049971.

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Otero, Solimar. "Ik� and Cuban Nationhood: Yoruba Mythology in the FilmGuantanamera." Africa Today 46, no. 2 (1999): 116–31. http://dx.doi.org/10.2979/aft.1999.46.2.116.

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Otero, Solimar. "Iku and Cuban Nationhood: Yoruba Mythology in the Film Guantanamera." Africa Today 46, no. 2 (1999): 117–31. http://dx.doi.org/10.1353/at.1999.0010.

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Witte, Hans. "La Quête Du Sens Dans Le Symbolisme Yoruba: Le Cas D'Erinle." Numen 38, no. 1 (1991): 59–79. http://dx.doi.org/10.1163/156852791x00042.

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AbstractThe article shows that in Yoruba mythology Erinle is a male hunter who is named after (or associated with) an elephant and who-for diverse reasons-is finally transformed into a water-spirit. In his cult Erinle is mainly venerated as a river-god who, like the river goddesses Qsun and Yemoya, blesses his followers with children. In the iconography of his cult, however, the material symbols of a Yoruba water-spirit (terra-cotta pots with water and pebbles from the river: fans) are mixed with those that refer to the hunter and the symbol-complex of the god of iron and of the wilderness (ir
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6

Khanal, Nagarjun. "Uncompromising Affirmation of Culture: Soyinka’s Death and the King’s Horseman." Tribhuvan University Journal 27, no. 1-2 (2010): 91–96. http://dx.doi.org/10.3126/tuj.v27i1-2.26391.

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Whole Soyinka’s Death and the King’s Horseman is the convergence of two issues: the first focuses on the Yoruba priest Elesin, who represents the embodiment of the mythology and the history of the people; the second concentrates on the “sterile, existential wasteland” (Ralph-Bowman, 1983) of the white colonialists. The two issues come into conflict in the sacrifice of Elesin’s European-educated son, Olunde, whose death represents a significant and uncom promising affirmation of Yoruba cultural tradition. The sacrifice ofolunde, though appears as metaphysical, is entirely secular and practical.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.

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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenar
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8

AFEJUKU, TONY E., and E. B. ADELEKE. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 47, no. 1 (2016): 97–112. http://dx.doi.org/10.1163/18757421-90000397.

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Femi Osofisan belongs to the new breed of writers, inadequately referred to as ‘second generation’. An accomplished writer whose works include plays, poems, essays and novels, Osofisan is widely regarded as the most significant playwright in Africa after Soyinka. As a committed playwright, Osofisan focuses on the reappraisal of his immediate society and the challenges of living in this society. He calls attention to all that is undesirable in the politics, economy, and religion of contemporary Nigeria and asks for a change of attitude which, hopefully, will bring sanity to the country. One of
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9

Afejuku, Tony E., and E. B. Adeleke. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 49, no. 1 (2017): 54–71. http://dx.doi.org/10.1163/18757421-04901004.

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Femi Osofisan belongs to the new breed of writers, inadequately referred to as the ‘second generation of writers’. An accomplished writer whose works include plays, poems, essays, and novels, Osofisan is widely regarded as the most significant playwright in Africa after Soyinka. As a committed playwright, Osofisan focuses on the reappraisal of his immediate society and the challenges of living in this society. He calls attention to all that is undesirable in the politics, economy, and religion of contemporary Nigeria and asks for a change of attitude which, hopefully, will bring sanity to the
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10

Saylan, Özlem. "Luis Valdez’in Seçilmiş Oyunlarında Chicano Kültürü Yansımaları." Göç Dergisi 7, no. 1 (2020): 55–76. http://dx.doi.org/10.33182/gd.v7i1.670.

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Luis Valdez, tarım işçilerinden oluşturduğu tiyatrosunun temellerini Chicano kültürünü referans alan üç sacayağı üzerine kurmuştur: daha çok politik içerik taşıyan doğaçlama kısa oyun anlamına gelen actos, Maya ve Aztek mitoloji ve efsanelerini yansıtan mitos ve de oyuna müzik, şarkı ve dans yorumu getiren corridos. Bir Chicano kimliği yaratıp, Chicanoların öz kültürleri ile bugünkü yaşamlarını içselleştirebilmeleri Valdez’in oyunlarında yer alan temaların en çok öne çıkanlarından birisidir. Bu makalede, Valdez’in, Zoot Suit, Bandido! ve I Don’t Have to Show You No Stinking Badges! isimli seçi
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Dissertations / Theses on the topic "Mythologie yoruba"

1

Weisser, Gabriele. "Das Königtum der Owo-Yoruba : zwischen Geschichte und Mythologie /." Hamburg : Kovač, 2008. http://www.verlagdrkovac.de/978-3-8300-3303-5.htm.

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Weisser, Gabriele. "Das Königtum der O̧wo̧-Yoruba zwischen Geschichte und Mythologie." Hamburg Kovač, 2004. http://d-nb.info/986437883/04.

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3

Müller, Bernard. "Théâtre, nationalisme et travail culturel au Nigeria aujourd'hui : essai de description d'une pièce de Yoruba theatre." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0058.

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Cette thèse porte sur la description d'une forme théâtrale que les habitants du sud-ouest du Nigeria appellent le Yoruba théâtre. Le point focal de mon analyse est une pièce intitulée odu-ifa. Cette pièce a été représentée le 12 février 1998 au national théâtre à Lagos. Ce genre théâtral représente sur scène des motifs littéraires tirés de la mythologie yoruba. Odu-ifa est le lieu de la production d'une construction identitaire. Cette construction est inhérente au nationalisme culturel yoruba. Cette construction relève d'une fiction du type culture. Elle est le résultat d'un certain assemblage
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4

Hounton, Jean-Baptiste. "Le mythe de Sakpata au Bénin : approches littéraire, sémiotique et sociologique." Paris 4, 1995. http://www.theses.fr/1995PA040203.

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Notre étude est destinée aux jeunes lecteurs béninois ainsi qu'aux étrangers pour leur permettre de comprendre l'univers des mythes africains à travers un mythe particulier: un mythe fondateur connu dans toute la région du golfe du Benin, sous le nom de Sakpata, divinité de la terre. Le récit mythique : alors que le monde se présentait sous la forme d'une calebasse et que sa création n'était pas encore achevée, le créateur envoya l'un de ses ministres, Sakpata, pour parfaire la construction de la terre et pour la gouverner. Sakpata travailla à la fondation (de la célèbre cité) d'Ile-Ife consid
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5

Williams, Annette Lyn. "Our mysterious mothers| The primordial feminine power of aje in the cosmology, mythology, and historical reality of the West African Yoruba." Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643206.

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<p> Among the Yoruba <i>&agrave;j&eacute;&dotbelow;</i> is the primordial force of causation and creation. <i>&Agrave;j&eacute;&dotbelow; </i> is the power of the feminine, of female divinity and women, and <i> &agrave;j&eacute;&dotbelow;</i> is the women themselves who wield this power. Unfortunately, <i>&agrave;j&eacute;&dotbelow;</i> has been translated witch/witchcraft with attendant malevolent connotations. Though the fearsome nature of <i>&agrave;j&eacute;&dotbelow;</i> cannot be denied, <i>&agrave;j&eacute;&dotbelow;</i> is a richly nuanced term. Examination of Yoruba sacred text, <i
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Books on the topic "Mythologie yoruba"

1

Ecun, Oba. Ita: Mythology of the Yoruba religion. ObaEcun Books, 1996.

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2

Ecún, Obá. Ita: Mythology of the Yoruba religion. Obaecun Books, 1989.

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3

Mitos yorubás: O outro lado do conhecimento. Bertrand Brasil, 2006.

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4

Ìwé odù Ifá: Ogbè ọ̀yẹ̀kú - ogbè ofún. Ilé Ọ̀rúnmìlà Communications, 1995.

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5

Prandi, J. Reginaldo. Mitologia dos orixás. Companhia das Letras, 2001.

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6

O'Mos, Ikupasa. Aspects of Yoruba cosmology in Tutuola's novels. Centre de recherches pédagogiques, 1990.

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7

Vanda, Machado, and Schomburg Children's Collection, eds. Irê ayó: Mitos afro-brasileiros. EDUFBA, 2004.

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8

Castrillo, Luis Diáz. Tratado de Oshún. Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratado de Oshún. Ediciones Orunmila, 2005.

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10

Castrillo, Luis Diáz. Tratado de Oyá, Obba y Yewá. Ediciones Orunmila, 2005.

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