Relevant bibliographies by topics / Mythology, Yoruba

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Academic literature on the topic 'Mythology, Yoruba'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Mythology, Yoruba"

1

Otero, Solimar. "Ik� and Cuban Nationhood: Yoruba Mythology in the FilmGuantanamera." Africa Today 46, no. 2 (April 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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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 doubt the main (though not the only) source on the consolidation of the Oba Dynasty in Benin. The key point on which different Bini and Yoruba traditions openly contradict each other, and which scholars debate, is the origin of the Dynasty. Who initiated its founding: Bini or Yoruba? Was it a request or a conquest? Are the characters of the oral tradition relations historical figures? Finally, what were historical, sociocultural, and political circumstances of the Oba accession?If one disengages from details, three groups of traditional versions that describe the origin and life of Oranmiyan (including its period connected with Benin) can be distinguished. These groups may be designated as the Yoruba one, the Benin “official” (i.e., traditionally recognized by Oba themselves and most widely spread among common Bini) and Benin “apocryphal” traditions. In the meantime it should be borne in mind that Bini and Yoruba native gatherers and publishers of the oral historical tradition could influence each other. For example, the Yoruba Johnson could influence the Bini Egharevba, while the latter in his turn could influence another Yoruba, Fabunmi, and so on.
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Khanal, Nagarjun. "Uncompromising Affirmation of Culture: Soyinka’s Death and the King’s Horseman." Tribhuvan University Journal 27, no. 1-2 (December 30, 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. Hedies to preserve the safety of his community and his action can be appreciated as a form of martyrdom. Olunde’s sacrifice symbolizes an act that asserts the value of higher duty against both the internal threat of materialistic self-interest and the external threat of an imposed alien culture.
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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 (iron chains; fly whisks; wrought iron staffs topped by birds). Outside his cult Erinle is sometimes symbolized by the image of an elephant with reference to his name. In the cult of his close friend Sango, the Oyo god of thunder, Erinle is figurated as a mudfish or a human being with mudfish legs, symbolizing him as a water-spirit. Comparison with mudfish symbolism in other Yoruba cults suggests that this mudfish symbolism refers to Erinle only when he is assimilated to Sango as the founding ancestor of the Qyo kingdom.
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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 (April 30, 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 mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Adeleke, Duro A. "Lessons from Yorùbá Mythology." Journal of Asian and African Studies 39, no. 3 (June 2004): 179–91. http://dx.doi.org/10.1177/0021909604049971.

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AFEJUKU, TONY E., and E. B. ADELEKE. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 47, no. 1 (August 22, 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 the means by which Osofisan achieves his artistic objective is the use of myths and legends from Yorùbá mythology. Specifically, we shall show in this essay that Osofisan makes use of the myths of OEango and Èṣú and the legends of Môrèmi and Solarin as a means of thematic exploitation. By so doing, he creates a unique contemporary Nigerian theatre which other playwrights emulate and develop. Many Colours Make the Thunder King, Esu and the Vagabond Minstrels, Morountodun, and Who Is Afraid of Solarin? are used as illustrative texts.
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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 country. One of the means by which Osofisan achieves his artistic objective is the use of lore from Yorùbá mythology. Specifically, we shall show in this essay that Osofisan makes use of the myths of Ṣango and Èṣù and the legends of Môrèmi and Solarin as a means of thematic exploitation. By so doing, he creates a unique contemporary Nigerian theatre which other playwrights emulate and develop. We shall use Many Colours Make the Thunder King, Esu and the Vagabond Minstrels, Morountodun, and Who’s Afraid of Solarin? as our illustrative texts.
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10

Saylan, Özlem. "Luis Valdez’in Seçilmiş Oyunlarında Chicano Kültürü Yansımaları." Göç Dergisi 7, no. 1 (May 12, 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 seçilmiş üç oyunu ele alınmıştır. Bu oyunların incelenme nedeni, her birinin bir yandan toplumdaki Chicano önyargısını hicvederken, diğer yandan oluşturulmaya çalışılan Chicano kimliğinin şekillenmesine yardımcı olmasıdır. Bu amaç doğrultusunda Valdez’in neredeyse tüm oyunlarında, en az ana karakter kadar sahnede varlığına işaret edilen Chicano olmak “düşünce”sinin, “eylem”e dönüşümündeki süreç irdelenmektedir. Hâlihazırda var olan Chicano kimliğinin ve Chicano topluluğunun varlığını reddeden kesime tanıtılması halinde “varlık,” bir olgu olmaktan çıkıp bir eyleme yani “olay”a dönüşür. Bu bağlamda, tiyatro okuruna/izleyicisine, Chicano Tiyatrosu’nun Amerikan Tiyatrosundaki yerini özellikle sosyokültürel ve politik mesajlarla göstermeye çalışıldığı gözlemlenmektedir. ABSTRACT IN ENGLISH Reflections of Chicano Culture in Selected Plays of Luis Valdez Luis Valdez established his theater consisting of farm workers on a trivet, taking Chicano culture as a reference: actos improvised short play with more political content, mitos reflecting Maya and Aztec mythology and legends, and corridos bringing music, song, and dance interpretation in play. Creating a Chicano identity and internalizing their mother culture and present lives is one of the outstanding themes in Valdez’s plays. This paper discusses three of Valdes’s selected plays, Zoot Suit, Bandido!, and I Don’t Have To Show You No Stinking Badges!. The reason why these plays are analyzed is that each of them helps to shape the Chicano identity, while satirizing the Chicano bias in society. For this purpose, in almost all of Valdez’s plays, the process of transforming the “idea” of being Chicano, which is indicated at least as much as the protagonist’s presence on the stage, into “action” of becoming Chicano is scrutinized. In the case of introducing the already-existing Chicano identity and community to those who deny its existence, “being” turns from being a phenomenon into an “action”. In this regard, it is observed that it is tried to exhibit Chicano Theater’s place in the American Theater especially with sociocultural and political messages.
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Dissertations / Theses on the topic "Mythology, Yoruba"

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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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Among the Yoruba àjé&dotbelow; is the primordial force of causation and creation. Àjé&dotbelow; is the power of the feminine, of female divinity and women, and àjé&dotbelow; is the women themselves who wield this power. Unfortunately, àjé&dotbelow; has been translated witch/witchcraft with attendant malevolent connotations. Though the fearsome nature of àjé&dotbelow; cannot be denied, àjé&dotbelow; is a richly nuanced term. Examination of Yoruba sacred text, Odu Ifa, reveals àjé&dotbelow; to be an endowment gifted to female divinity from the Source of Creation. Female divinity empowered their mortal daughters with àjé&dotbelow;—spiritual and temporal power exercised in religious, judicial, political, and economic domains throughout Yoruba history. However, in contemporary times àjé&dotbelow; have been negatively branded as witches and attacked.

The dissertation investigates factors contributing to the duality in attitude towards àjé&dotbelow; and factors that contributed to the intensified representation of their fearsome aspects to the virtual disavowal of their positive dimensions. Employing transdisciplinary methodology and using multiple lenses, including hermeneutics, historiography, and critical theory, the place of àjé&dotbelow; within Yoruba cosmology and historical reality is presented to broaden understanding and appreciation of the power and role of àjé&dotbelow; as well as to elucidate challenges to àjé&dotbelow;. Personal experiences of àjé&dotbelow; are spoken to within the qualitative interviews. Individuals with knowledge of àjé&dotbelow; were interviewed in Yorubaland and within the United States.

Culture is not static. A critical reading of Odu Ifa reveals the infiltration of patriarchal influence. The research uncovered that patriarchal evolution within Yoruba society buttressed and augmented by the patriarchy of British imperialism as well as the economic and social transformations wrought by colonialism coalesced to undermine àjé&dotbelow; power and function.

In our out-of-balance world, there might be wisdom to be gleaned from beings that were given the charge of maintaining cosmic balance. Giving proper respect and honor to "our mothers" (awon iya wa) who own and control àjé&dotbelow;, individuals are called to exercise their àjé&dotbelow; in the world in the cause of social justice, to be the guardians of a just society.

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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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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 de la mémoire collective qui est lié à l'élaboration d'un récit de type historique. L’objectif de cette rhétorique est de rendre légitime le statut d'une bourgeoise locale et les frontières d'un état indépendant (ou d'une région à l'intérieur de la fédération nigériane). Le Yoruba théâtre est cependant une forme instable. L’expression paroxystique en est la dérive accidentelle d'un jeu d'acteur en transe de possession. Cet événement (rare mais possible) révèle la complexité de l'organisation sociale yoruba. Il devient ainsi possible de décrire un aspect du fonctionnement de cette société en soulignant le type de travail culturel qui y est à l'oeuvre. Celui-ci répond à une "logique" qui évolue a l'intérieur d'un système contingent de contraintes.
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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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5

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 considérée comme le berceau de l'humanité et pays de référence de nombreux peuples dans cette partie de l’Afrique. Devenue très vieux et abandonné par ses enfants, il se métamorphosa alors en une termitière habitée par un serpent. Sa signification : ces deux éléments - la termitière et le serpent - symbolisent ensemble la divinité de la terre qui, elle-même représente le couple primordial : l'homme et la femme. Ce récit met l'accent sur la responsabilité de l'homme qui doit entretenir de bons rapports avec la terre et avec ses semblables. De plus, il trace le chemin de la vodouisation de l'homme appelé à atteindre la vodouité : devenir lui-même dieu. Nous avons montré que ce mythe est le fondement des réalités socio-culturelles-économiques des peuples de cette région du monde
This study is meant for young Beninese students as well as foreign readers, to help them to imagine the world of African mythology through a particular example. We have studied a cosmogonical myth, which is very well known in the whole region of Beninese coast. Its name is Sakpata: the god of earth. The mythical story: when the world was still in the shape of a gourd and it was not totally created, the creator send one of his ministers named Sakpata to achieve the making of the earth and to rule it. Sakpata founded the famous city of Ile-Ife. When he become very old, his sons deserted him and then he turned himself into a white ant-hill (termitarium) inhabited by a snake. Its meaning: these two elements together,- the white ant-hill and the snake-, go to make the god of earth, who is himself the symbolical representation of the original couple: the man and the woman. This myth constitutes the foundations of the societies and their economical and cultural realities, among the peoples in this area
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Books on the topic "Mythology, Yoruba"

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

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

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3

Mitos yorubás: O outro lado do conhecimento. Rio de Janeiro, RJ: Bertrand Brasil, 2006.

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Prandi, J. Reginaldo. Mitologia dos orixás. [São Paulo, Brazil]: Companhia das Letras, 2001.

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

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

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

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Castrillo, Luis Diáz. Tratado de Oshún. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratado de Oshún. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratados de Oggún y Oshosi. Caracas, Venezuela: Ediciones Orunmila, 2005.

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