Relevant bibliographies by topics / Soyinka, Wole – Criticism and interpretation

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Academic literature on the topic 'Soyinka, Wole – Criticism and interpretation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Soyinka, Wole – Criticism and interpretation"

1

Gibbs, James. "Biography Into Autobiography: Wole Soyinka and the Relatives Who Inhabit ‘Ake’." Journal of Modern African Studies 26, no. 3 (1988): 517–48. http://dx.doi.org/10.1017/s0022278x00011757.

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In fact, What became Ake started out with me wanting to write a biography of an uncle, a very remarkable uncle of mine, who is mentioned here, Daodu, Rev Kuti. I think some of you have heard of Fela, the Nigerian musician. Daodu was his father and a very remarkable individual.Wole Soyinka in Jo Gulledge (ed.), ‘Seminar on Ake with Wole Soyinka’, in The Southern Review (Baton Rouge), 23, 3, July 1987, p. 513.The publication of Ake: the years of childhood (London, 1981) won Wole Soyinka admirers among those who had never read his poetry, novels, newspaper articles, or criticism, never seen his films or plays. In a seminar on Ake which he gave in Louisiana during March 1987, Soyinka said that the autobiography had started from a desire to write a biography. He went on to say that he had ‘received letters about the book from the strangest parts of the world’.1 The autobiography was widely and favourably reviewed, it was awarded prizes and contributed to the elevation of Soyinka's reputation throughout the world—including Sweden, where he was subsequently presented with the Nobel Prize for Literature.
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Dunmande, Olufemi Ibukun. "Ritual form and mythologization of death in Wole Soyinka’s ‘Procession’." Tydskrif vir Letterkunde 54, no. 1 (2017): 181–95. http://dx.doi.org/10.17159/tvl.v.54i1.12.

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Critics make a large claim that Wole Soyinka mythologizes death and deploys ritual form in his dramatic works but hardly account for the same in this light regarding his poetry, especially "Procession", a sequence which bears so many marks of this style. Critics of "Procession" discount a lot from its richness in mythological and ritual forms but focus more on its topical, social and political nature. The trend in the criticism of the sequence is obviously informed by the historical and political context of the sequence and its inclusion in A Shuttle in the Crypt (1972), a collection on Soyinka's prison experience. This approach to "Procession" detracts from the art in the sequence, fails to appreciate fully the poetry's formal properties and so the poetry requires a close reading. Formalism is applied to study the poem and the study stresses the analysis of the work as a self-sufficient verbal entity, constituted by internal relations and independent of reference either to the state of mind of Soyinka or the actualities of the "external" world. The approach highlights in a fresh manner the elements which the earlier criticism the poetry stresses to reveal Soyinka's mythologization of death and preoccupation with ritual forms in "Procession". The study reveals that Soyinka is not just preoccupied with political imprison- ment and judicial death but mythologizes the experience and treats rites de passage. It shows further the breadth with which the poet accentuates the esoteric theme through his by deployment of devices such as symbols, the motifs of passage, biblical allusion, pathetic fallacy, pun, incantatory rhythm, paradox, irony and humour.
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Anaya Ferreira, Nair María. "Wole Soyinka y Eurípides: una tumultosa celebración de la vida." Anuario de Letras Modernas 14 (July 31, 2009): 153–68. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.683.

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This essay explores Soyinka’s social, political and cultural concerns taking as point of departure his exploration of the role of myth in Yoruba culture and its repercussions in contemporary Nigerian society. In his rewriting of Euripides’ best known tragedy, Bacchae, Soyinka reflects on the impact of the colonial process and on the role of modernday dictatorship in many Third-World countries. Interestingly called The Bacchae of Euripides. A Communion Rite, Soyinka’s play takes the effects of intertextuality to the extreme, not only by taking the Greek tragedy as hypotext, but by relating Euripides’ subversive criticism of Greek imperialism to his own denunciation of colonization and tyranny. Because of its radical use of imagery —such as the fact that the blood which emanates from Pentheus’ head at the end of the play becomes wine and everybody drinks from it—the play was not well received in London in the 1970s, but has been recognized as one of Soyinka’s masterpieces after that.
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Maledo, Richard Oliseyenum, and Emmanuel Ogheneakpobor Emama. "Wole Soyinka’s The Road as an intertext." Tydskrif vir Letterkunde 57, no. 2 (2020): 26–36. http://dx.doi.org/10.17159/tl.v57i2.6617.

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Studies on African drama have shown the influences and the intertextual relations between African drama and European (Classical and Elizabethan) plays. It is also a known fact that African drama exhibits traces of African tradition and instances of textual relations with already existing oral and written texts. However, existing studies on Wole Soyinka’s The Road have tilted towards the usual literary interpretation or as a piece of theatrical performance with little attention paid to the intertextual nature of the text. Based on the challenges of these usual approaches to the study of literature by contemporary literary and cultural theories, this study adopts intertextual theory as a framework to examine Wole Soyinka’s The Road as an intertext showing traces of textual influences from oral and written external sources. The aim is to reveal the source texts from which the playwright draws in the creation of the text and to show how these sources contribute to the overall thematic significance of the play. Findings reveal that Soyinka draws extensively from Yorùbá oral sacred texts, the Bible, and his own earlier texts and that these sources contribute to the eclectic nature of the thematic preoccupation of the play. It is hoped that this has gone a long way to mitigate the obscure claim of structural and thematic incomprehensibility with which the play is associated.
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Edwin, Shirin. "Racing Away from Race: The Literary Aesthetics of Islam and Gender in Mohammed Naseehu Ali’s The Prophet of Zongo Street and Abubakar Adam Ibrahim’s The Whispering Trees." Islamic Africa 7, no. 2 (2016): 133–58. http://dx.doi.org/10.1163/21540993-00702010.

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Some literary discussions on Islam in West Africa argue that African Muslims owe allegiance more to Arab race and culture since the religion has an Arab origin while owing less to indigenous and therefore “authentic” African cultures. Most notably, in his famous quarrel with Ali Mazrui, the Nobel laureate Wole Soyinka wrenches race to serve a tendentious historicism about African Muslims as racially Arab and therefore foreign to African culture. In their fiction, two new West African writers, Mohammed Naseehu Ali and Abubakar Adam Ibrahim, allegorize African Islamic identity as tied to Arab race and culture as madness, lunacy and even death. In particular, Ali’s short story “The Prophet of Zongo Street” engages with this obsessive dialectic between African Islamic identity and Arab race. Although not explicitly thematizing Islamic identity as tied to Arab race or culture, three other stories by the same authors, Ali’s story “Mallam Sile” and Ibrahim’s stories “The Whispering Trees” and “Closure,” gender the dialectic between race and Islamic identity. Ali and Ibrahim show African Muslim women’s abilities to effect change in difficult situations and relationships—marriage, romance, legal provisions on inheritance, prayer and honor. In so doing, I argue, these authors reflect a potential solution to the difficult debate in African literary criticism on Islamic identity and Arab race and culture.
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Zuhmboshi, Eric Nsuh. "Narrative Fictions on State-Terrorism and Trauma: Re-reading Helon Habila’s Waiting for an Angel and John Nkemngong Nkengasong’s Across the Mongolo." Culture and Dialogue 7, no. 2 (2019): 140–66. http://dx.doi.org/10.1163/24683949-12340064.

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Abstract The relationship that exists between the state and her citizens has been described by Jean Jacques Rousseau as “a social contract.” In this contractual agreement, citizens are bound to respect state authority while the state, in turn, has the bounden duty to protect her citizens and guide them in their aspirations. In fact, any state that does not perform this duty is guilty of violating the fundamental rights of her citizens. This, however, is not the case in most postcolonial societies where the citizens see the state as an aggressive apparatus against their wellbeing because the state is not fulfilling its own part of the social contract, which requires them to protect the citizens and guide them in their aspirations. This unfortunate situation has laid the foundation for protest and anti-establishment writings in post-colonial societies – especially in Africa. Since literature, as a semiotic resource, is coterminous with its socio-political context, this attitude of the state has drawn inimical criticism from key postcolonial African writers such as Chinua Achebe, Wole Soyinka, Ngugi wa Thiong’o, Mongo Beti, and Nadine Gordimer. Using Helon Habila’s Waiting for an Angel and John Nkemngong Nkengasong’s Across the Mongolo, this essay shows the relationship between state-terrorism and the traumatic conditions of the citizens in contemporary Africa. From the perspective of trauma theory, the essay defends the premise that the postcolonial subjects/characters, in the novels under study, are traumatized and depressed because of their continuous victimization by the state. Due to this state-imposed terror and hardship, the citizens are forced to indulge in political agitation, radicalism and violence in response to their destitute and impoverished conditions.
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7

Ogundele, Wole. "Criticism and the Tradition of Political Poetry in Africa: The Example of Wole Soyinka." Ufahamu: A Journal of African Studies 19, no. 2-3 (1991). http://dx.doi.org/10.5070/f7192-3016789.

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8

Figueiredo, Rosa Branca. "DISCOURSES THAT MATTER: WOLE SOYINKA’S THEATRE AS A FORM OF REPRESENTING AND READING THE WORLD." Egitania Sciencia 1, no. 14 (2014). http://dx.doi.org/10.46691/es.v1i14.56.

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Abstract: Wole Soyinka is a most significant figure in contemporary world literature. From the perspectives of the politics of postcolonial writings, perhaps the ultimate challenge of the complexity of Soyinka’s works and career lies in the fact that the metanarratives that imaginatively and discursively underwrote the great liberation movements of the twentieth century do not feature in his works in their conventional and familiar configurations. Overarching all the struggles waged by these movements is the struggle for self-representation as the existential and expressive roots of human freedom.The best examples of this structure in Soyinka’s theatre are A Dance of the Forests, Kongi’s Harvest, Madmen and Specialists and From Zia With Love. Soyinka’s critical essays also operate in a great variety of social and intellectual contexts and cover an extraordinary range of topics, including literary criticism and aesthetic theory, theatre and cultural history, political power and ideology, and, more recently religious extremism and nuclear pollution. One “form of attention” which has been influential in the reception of Soyinka’s works is that of professional critics, especially with regard to the institutionalisation of the academic study of Anglophone writings of the developing world in the second half of the twentieth century.
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Dissertations / Theses on the topic "Soyinka, Wole – Criticism and interpretation"

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Motsa, Ntombizodwa Thembelihle Gertrude. "A tiger in the court: the nature and implications of Wole Soyinka's interactions at the Royal Court Theatre: 1956-1966." Thesis, 2012. http://hdl.handle.net/10539/11144.

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2

Lunga, Majahana John Chonsi. "A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues." Diss., 1994. http://hdl.handle.net/10500/17262.

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This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that Soyinka, far from being an irrelevant artist as some of his fiercest critics have alleged, is a deeply committed writer whose works are characterised by a strong sense of concern with basic human values of right and wrong, good and evil. Furthermore, the dissertation shows that although Soyinka is not an admirer of Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either, I because he is fully aware of the utilitarian value of literature. Soyinka's works are much influenced by his social and historical background, and the dissertation shows that Soyinka's socio-political awareness pervades all these works, although it will be seen that in the later plays there is a sharpened political awareness. Although largely concerned with his own country's issues, Soyinka also emerges as a keen observer of humanity universally
English Studies
M.A. (English)
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Books on the topic "Soyinka, Wole – Criticism and interpretation"

1

Msiska, Mpalive-Hangson. Wole Soyinka. Northcote House, in association with the British Council, 1998.

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Derek, Wright. Wole Soyinka revisted. Twayne, 1993.

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3

Ojaide, Tanure. The poetry of Wole Soyinka. Malthouse Press, 1994.

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Ricard, Alain. Wole Soyinka, ou, L'ambition démocratique. Silex, 1988.

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Msiska, Mpalive-Hangson. Postcolonial identity in Wole Soyinka. Rodopi, 2007.

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L' homme vivant de Wole Soyinka. Silex, 1987.

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Wole, Soyinka. Soyinka: Blackout, Blowout & beyond : Wole Soyinka's satirical revue sketches. Edited by Banham Martin, Mike Chuck, and Greenwood Judith. James Currey, 2005.

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8

The writing of Wole Soyinka. 3rd ed. J. Currey, 1988.

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Wole Soyinka: An introduction to his writing. Garland, 1986.

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Wole Soyinka: Politics, poetics, and postcolonialism. Cambridge University Press, 2004.

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