Relevant bibliographies by topics / Oroonoko

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Oroonoko'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Oroonoko"

1

Thornton, John, Aphra Behn, Catherine Gallagher, and Simon Stern. "Oroonoko." International Journal of African Historical Studies 33, no. 2 (2000): 466. http://dx.doi.org/10.2307/220724.

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Wallace, Elizabeth Kowaleski. "Transnationalism and Performance in 'Biyi Bandele's Oroonoko." Publications of the Modern Language Association of America 119, no. 2 (March 2004): 265–81. http://dx.doi.org/10.1632/003081204x21306.

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'Biyi Bandele's Oroonoko, in its textual and performance history, bridges eighteenth- and late-twentieth-century forms of transnationalism. The Oroonoko story has always been an improvised text. Bandele's play relates to earlier versions of the Oroonoko story by Aphra Behn, Thomas Southerne, and John Hawkesworth. Three issues in Bandele's Oroonoko have special relevance to a transnational reading of the play: the deployment of an African setting as a strategy for counteracting a pseudouniversalism; the place of anachronism, especially in the representation of gender relations; and Bandele's use of English as a means of conveying Yoruban culture. His play raises the question of what it means to “sell” Oroonoko to a wide audience today.
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Polk, Khary. "Reviving Oroonoko." Journal of Negro History 85, no. 3 (July 2000): 154–61. http://dx.doi.org/10.2307/2649072.

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Sehat, Ma’soome, and Alireza Qadiri Hedeshi. "Oroonoko: Royal or Slave; Bakhtinian Reading of Aphra Behn’s Oroonoko." IJOHMN (International Journal online of Humanities) 6, no. 2 (April 21, 2020): 15–37. http://dx.doi.org/10.24113/ijohmn.v6i2.172.

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Having had its protagonist in a carnivalistic world, Aphra Behn’s Oroonoko provides a polyphonic atmosphere in which different attitudes toward colonization can be heard. Oroonoko, who used to be the prince of Coramantien, is doomed to live as a slave in Surinam; a British colony. This degradation, beside other elements of Bakhtinian carnivalesque, makes his language a unique one, belonging neither to aristocrats anymore nor to the slaves, but simultaneously representing both. The subtitle of the story, The Royal Slave, can be implied as referring to this paradox. Additionally, his relationship with the slave society lets their different beliefs and ideas be revealed to the reader despite the author’s will. Aphra Behn, the author, intends to impose her monolithic view on the readers. As a Tory proponent of her time, she defends the colonization and tries her best not to stand against. She attempts to portray her protagonist as the one who believes in social hierarchy; what defines a gentleman from the narrator’s viewpoint. On the surface, Aphra Behn and her hero seem to be of the same opinion toward monarchy and accordingly its policies. They both respect it and believe in its need for the society. A Bakhtinian reading, however, can disclose other massages. Adding to all that, having employed first point of view as the narrator, Behn provides an opportunity for herself to enforce her political attitude to the story. All miscellaneous details of the story are under the control of this monolithic voice. Therefore other characters including the hero can speak only after her permission. Nevertheless, the scope of the novel does not let her be meticulous enough and sporadically, other voices can be heard from different lines of the story. The Bakhtinian reading of this story can bring these hidden voices to the surface.
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Gallouët, Catherine. "Oroonoko (review)." Eighteenth-Century Fiction 24, no. 1 (2011): 154–56. http://dx.doi.org/10.1353/ecf.2011.0037.

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Law, Robin. "An Alternative Text of King Agaja of Dahomey's Letter to King George I of England, 1726." History in Africa 29 (2002): 257–71. http://dx.doi.org/10.2307/3172163.

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In an earlier issue of this journal I published the text of a letter to King George I of England written in the name of King “Trudo Audati” (better known under the name which he is given in in local tradition, Agaja) of the west African kingdom of Dahomey. Although dated 1726, this letter was received in England only in 1731, when it was belatedly delivered to London by Bulfinch Lambe, a former employee of the Royal African Company of England, who had spent some time in captivity in Dahomey, and who claimed to have written the letter at King Agaja's dictation. Lambe was accompanied to England by an African interpreter called “Captain Tom,” who vouched for the letter's authenticity; this man's African name was given as “Adomo Oroonoko Tomo,” though the middle name “Oroonoko” at least was surely not authentic, but borrowed from the popular romantic novel by Aphra Behn, Oroonoko: or, the Royal Slave (1689). An official enquiry by the Board of Trade decided that the letter itself was a forgery, though on grounds I at least find unpersuasive; but it was acknowledged that Lambe had been charged with some sort of message from King Agaja, and arrangements were made for the repatriation of the interpreter “Adomo Oroonoko Tomo” to Dahomey, which was effected in the following year, 1732.
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Ferguson, Moira. "Oroonoko: Birth of a Paradigm." New Literary History 23, no. 2 (1992): 339. http://dx.doi.org/10.2307/469240.

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Miles, Laura Saetveit. "Approaches to Teaching Behn's Oroonoko." Medieval Feminist Forum 54, no. 2 (May 1, 2019): 157–59. http://dx.doi.org/10.17077/1536-8742.2163.

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Dhuicq, Bernard. "Oroonoko : la rencontre de trois mondes." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 38, no. 1 (1994): 33–43. http://dx.doi.org/10.3406/xvii.1994.1282.

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LITTLE, ROGER. "OROONOKO AND TAMANGO: A PARALLEL EPISODE." French Studies XLVI, no. 1 (1992): 26–32. http://dx.doi.org/10.1093/fs/xlvi.1.26.

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Dissertations / Theses on the topic "Oroonoko"

1

Waters, Hazel Kathleen. "How Oroonoko became Jim Crow : the black presence on the English stage from the late eighteenth to the mid-nineteenth century." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397618.

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Beginning with the seminal drama, Oroonoko (1695), the thesis traces the development of the black image in the theatre up to the mid-nineteenth century.It argues that slavery shaped the image of the black as presented for popular consumption. This image became more degraded from the beginning of the nineteenth century till it became fixed with no redeeming features at all. The black character initially evoked fear or pathos. Often a figure of vengeance, he became less terrifying as the threat he posed receded; as he did so, the mulatto female avenger briefly appeared in the mid-nineteenth century. There was also a lesser tradition of the comicaL black servant, who became the vehicle for the fullest degradation of the black figure. This can be dated to the advent on stage of Jim Crow, the first nigger minstrel,in 1836. Crow, the creation of a white, domestically slave-owning society, represented a more virulent form of racial stereotyping than that originally inspired by a slavery practised overseas and mediated by a sense of national self-congratulation over abolition. After the 1830s, it was the grotesque Crow who informed subsequent representations of the black, including a disgust with the supposed sexual appetite of the bLack woman. Even in the vogue for 'Uncle Tom' plays (1850s), the black Christ figure of the novel becomes a minstrel buffoon. Hence, as black characters became so stereotyped as to be incapable of bearing any serious dramatic weight at a, they lost the potential to feature meaningfully even in dramas on slavery. Only white or near-white characters could now confront the issue. The black characterwas elided even from that which originally defined him - slavery itself.
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Roesch, Lynn Marie. "The Master and the Machine: Applying the Perception of Mind and Body to Rochester's “The Imperfect Enjoyment” and Aphra Behn's “The Disappointment” and Oroonoko." University of Dayton / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1493044405051968.

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Singleton, Keir. "Black Eurocentric Savior: A Study of the Colonization and the Subsequent Creation of the Black Eurocentric Savior in William Shakespeare’s The Tempest, Aphra Behn’s Oroonoko, and Charles Chesnutt’s “Dave’s Neckliss” and The Marrow of Tradition." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/163.

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Colonization adversely impacts the psychological health of the colonized. To heal psychologically, economically, and culturally and break chains of colonization in a post-colonial society, the colonized must be grounded in understanding and embrace of their cultural and historical heritage. This embrace and remembrance of the ancestors will inspire and create a spiritual and mental revolution. Prominent literary works from 16th to 20th century, such as Charles Chesnutt’s The Marrow of Tradition and "Dave’s Neckliss", William Shakespeare’s "The Tempest" and Aphra Behn’s Oroonoko, explore the psychological and cultural demise of people of African descent due to colonization and racial oppression. While these works give voice to spiritual leaders, ancestors, and bondaged individuals who strive to overcome and survive adverse circumstances Eurocentric society has imposed upon them, these texts also explore characters who kneel at the altar of White hegemony and embrace Whiteness as the Ark of God, even to the characters’ and their community’s safety and well-being. These I term Black Eurocentric Saviors, characters who sacrifice themselves and their community for safety and saving of Whites. Through application of French West Indian psychiatrist Frantz Fanon's theories of colonization which posits that imposed psychological domination of the colonized by Europeans cultivated the belief in White superiority and the subsequent desire for White approval and blessings by any means necessary, including worshipping Whiteness, betraying other persons of African descent, and/or willing to kill self or other Blacks for both the continued prosperity of White societies and gained prosperity for self. Chesnutt, Shakespeare, and Behn depict oppressed people who (un)consciously appear to embrace with open arms historical narratives and cultural traditions that relegate them to second-class citizens and are thus unable to nurture mythical origins and pride in their ancestral history and legacy. When they seek to conjure their African ancestors, they do so, not for their freedom or elevation, but for betterment of White society. Through the application of Fanon's theories on colonization to select literary works of Chesnutt, Shakespeare, and Behn's, this dissertation asserts that the diasporic African’s embrace of White superiority resulted and continues today in both real life and literature.
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Yang, Tsai-hua, and 楊采樺. "Female Subjectivity and Identity Politics in Oroonoko." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/80260210096419422564.

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碩士
淡江大學
英文學系
91
I try to explore the ideological ambiguities and complexities of the European woman writer as she tries to glorify the Black prince, Oroonoko. Being a “White,” “female” writer, her multiple subjective positions conflict with one another. Hence, her attitudes toward the racial Other are always ambivalent and complex. In the perspective of a female, she identifies and sympathizes with him because of their parallel positions of being the Oppressed. However, being one member of the White race, she treats him as a slave, the colonized. Moreover, she aspires to be an authoritative author so she offers a more detailed description of the dialectical relationship between the English community and the Black slave. In Chapter One, I will focus on her tactics to idealize the racial Others. Behn adopts Montaigne’s notion of “the noble savage.” At the same time, she destabilizes the fixed binary opposition of Western superiority and Oriental inferiority, which Said writes in Orientalsim. In Chapter Two, I explore Behn’s ambiguous imperial gaze on the colonized. Being one of the colonizers, she has dichotomous perspectives of both negation and identification in observing the Black slaves. Chapter Three attempts to analyze the final result of Behn’s alignment with patriarchal authority in spite of her ambivalence about both the Black slave and the British empire. My research into Aphra Behn’s Oroonoko proposes two conclusions. First, layered and split female subjectivity destabilizes but does not ruin her national identity. Second, although she shows sympathy for the racial Other, different political agendas preclude the association between the White female and the Black slave, which is proven to be ephemeral and unstable
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Hancock, Sarah Rose. "The Natural Embroidery of Thomas Southerne's Oroonoko." 2016. http://digital.library.duq.edu/u?/etd,197179.

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In this thesis, I plan to investigate the role of the landscape in Thomas Southerne's play Oroonoko. Most scholarship on Oroonoko focuses on the relationship between Southerthne's play and Aphra Behn's novella of the same name. In particular, the scholarly conversation has focused on the way that Southerne white-washed Aphra Behn's character Imoininda. While this distinction is notable, my research, instead, will focus on the way these bodies—both white and black, colonizer and colonized—are framed by 18th century gardening rhetoric. This rhetoric provided naturally conceived tools for nurturing these bodies. I plan to argue that the language of the natural world used in the play demonstrates the role of landscape in the formation of British national identity.
McAnulty College and Graduate School of Liberal Arts;
English
MA;
Thesis;
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Guénette, Marie-France. "«Oroonoko» d'Aphra Behn en traduction française (1745-2009)." Thèse, 2014. http://hdl.handle.net/1866/11904.

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Robinson, Laura M. "The authority of the Other : narration and accommodation in Aphra Behn's Oroonoko." 1991. http://hdl.handle.net/1993/17409.

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Wanninger, Jane Miller. "Intervention, improvisation, and spectral sanction adaptation and strategies of literary authorization in Oroonoko /." Diss., 2008. http://etd.library.vanderbilt.edu/ETD-db/available/etd-07252008-104404/.

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Su-pin, Lai, and 賴舒屏. "The Politics of Race and Gender in Shakespeare''s Othello and Aphra Behn''s Oroonoko." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/37635930275355153380.

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碩士
國立師範大學
英語學系
86
The primary purpose of the thesis is to examine the racial polipolitics of Shakespeare''s Othello and Aphra Behn''s Oroonoko by setting it alongside an analysis of sexual difference in two distinct but connected ways. Through the discussion of the intersectionality of race and gender in a woman''s writing as well as in man''s, I will discuss the trope of self and other, the West and the East, and the double oppression of native women. The first chapter explores how the figures of the black man and white woman are positioned in theoretical discourses. The second chapter is to scritinize how the racial sameness and sexual difference contribute to Shake-speare''s and Behn''s representation of the black heroes. The third chapter problematizes the easy equation between black man and white woman and questions the category of woman. With the fixed images of the Other, I will investigate the exercise of the Orientalist discourses. Othello and Oroonoko offer a cross-examination of sexual, racial and even class domination and by revealing the heterogeneity of the oppressing and the oppressed group, the two texts challenge the oppositional politics of both feminism and postcolonialism.
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Klinikowski, Autumn. "Geographers of writing : the authorship of Aphra Behn and Daniel Defoe in Oroonoko and Robinson Crusoe." Thesis, 2001. http://hdl.handle.net/1957/32393.

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Themes of authorship in Aphra Behn's Oroonoko and Daniel Defoe's Robinson Crusoe highlight locations in the stories that expose the author's concerns with their responsibilities and contributions to society. In order to frame a discussion of authorship in Oroonoko and Robinson Crusoe, it is essential to position Behn and Crusoe as travelers who write autobiographies of their involvement in exotic circumstances. Oroonoko and Robinson Crusoe betray the tensions that arise from the barriers separating travel and colonial objectives, individual agency and social action. Although the stories may incorporate truth and fiction, writing enables the authors to present, with symbolic images, concerns with their participation in situations that hinder the free expression of their will. I refer to Aphra Behn and Daniel Defoe as "geographers" of writing because they identify tenuous boundaries that organize social views concerning gender, responsibility and behavior in contrast to individual desires. Aphra Behn's narrative role in Oroonoko charts the tragic outcomes of Oroonoko's rejection of slavery and also draws attention to the reception of a female author. Behn's identity as an author, as it is constructed within Oroonoko, is intertwined with the murder of a slave prince, and with a woman's freedom to write and publish in the 1680s. Although Defoe is the author of the text, he manipulates the presentation of the story to convince readers that Crusoe wrote an authentic account of his years as a castaway on an unnamed island. In his journal, Crusoe discusses his position in his culture and the resulting circumstances that result from his rejection of family and economic position in search of adventure. With limited resources, Crusoe uses writing to redefine his agency in contrast to the threats of the island and his responsibilities to God, family and society. Although there may be discrepancies that blur the "true" identity and involvement of the author in autobiography, these narratives raise discourses concerning the balance between the individual's desires and society's expectations for behavior. Attention to authorship identifies the discourses and contradictions faced by Behn's and Crusoe's participation in travel and the subsequent translation, resolution and apology enabled by authorship.
Graduation date: 2002
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Books on the topic "Oroonoko"

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Behn, Aphra. Oroonoko. London: Penguin, 2003.

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1640-1689, Behn Aphra, ed. Aphra Behn's Oroonoko. London: Amber Lane, 1999.

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Behn, Aphra. Oroonoko, and other writings. Oxford: Oxford University Press, 1998.

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Behn, Aphra. Oroonoko and other stories. London: Methuen, 1986.

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Behn, Aphra. Oroonoko, and other writings. Oxford: Oxford University Press, 1998.

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Behn, Aphra. Oroonoko, and other writings. Oxford: Oxford University Press, 1994.

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Behn, Aphra. Oroonoko and other stories. London: Methuen, 1986.

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Behn, Aphra. Oroonoko, or, The royal slave. New York: W.W. Norton, 2000.

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Behn, Aphra. Oroonoko, or, The royal slave. Boston: Bedford/St. Martin's, 2000.

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Behn, Aphra. Oroonoko, The rover, and other works. London, England: Penguin Books, 1992.

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Book chapters on the topic "Oroonoko"

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Berensmeyer, Ingo. "Behn, Aphra: Oroonoko." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7986-1.

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Wiseman, Sue. "Abolishing Romance: Representing Rape in Oroonoko." In Discourses of Slavery and Abolition, 26–44. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230522602_3.

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Skinner, John. "Aphra Behn’s Oroonoko and Daniel Defoe’s Moll Flanders." In An Introduction to Eighteenth-Century Fiction, 131–57. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-62946-2_6.

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Hughes, Derek. "New World Ethnography, the Caribbean, and Behn's Oroonoko." In A Companion to the Literatures of Colonial America, 259–74. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996416.ch16.

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Moore, Andrew. "Violence and colonial politics in Aphra Behn's Oroonoko." In The Artistic Foundations of Nations and Citizens, 117–29. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003145592-11.

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Miller, Shannon. "Executing the Body Politic: Inscribing State Violence onto Aphra Behn’s Oroonoko." In Violence, Politics, and Gender in Early Modern England, 173–205. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230617018_8.

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Ferguson, Margaret. "5. News from the New World: Miscegenous Romance in Aphra Behn's Oroonoko and The Widow Ranter." In The Production of English Renaissance Culture, edited by David Lee Miller, Sharon O’Dair, and Harold Weber, 151–89. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744686-007.

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"John Hawkesworth, Oroonoko, A Tragedy, As it is now Acted at the Theatre-Royal in Drury-Lane." In Oroonoko, 126–84. Routledge, 2017. http://dx.doi.org/10.4324/9781351151962-11.

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"Anonymous, Oroonoko, A Tragedy. Altered from the Original Play of that Name, Written by the late Thomas Southern, Esq." In Oroonoko, 207–24. Routledge, 2017. http://dx.doi.org/10.4324/9781351151962-13.

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"’Biyi Bandele, Aphra Behn’s Oroonoko in a new adaptation by 'Biyi Bandele." In Oroonoko, 310–87. Routledge, 2017. http://dx.doi.org/10.4324/9781351151962-17.

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