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LISSOSSI, JEAN BERNARD. "Tradition et modernité dans l'œuvre de Wole Soyinka." Dijon, 1989. http://www.theses.fr/1989DIJOL008.
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Wole Soyinka, auteur d'une vingtaine de pièces de théâtre, de deux romans, de poèmes et de bien d'autres œuvres est aujourd'hui considéré comme l'un des piliers de la littérature africaine. Il est apprécié par les spécialistes de littérature non pas pour la quantité de ses œuvres mais plutôt pour leur qualité, bref pour son talent d'écrivain. Il a su dans son œuvre intégrer les éléments de la tradition orale yorouba tels les mythes, les proverbes, etc. . . Et ceux de la culture occidentale. Soyinka analyse les rapports conflictuels entre la tradition et la modernité et définit le rôle que doit jouer l'artiste c'est-à-dire l'écrivain dans les sociétés traditionnelles et modernes. Cette démarche permet d'aboutir à une synthèse, à une symbiose de la tradition et de la modernité dans la culture africaine. En tant qu'écrivain engagé, Soyinka dénonce toutes formes d'oppression et milite pour la solidarité et la justice sociale. Son engagement politique se manifeste surtout à travers le théâtre qu'il considère comme son arme révolutionnaireAuthor of about twenty plays, two novels, poems and other works, Soyinka is considered nowadays as one of the pillars of African literature. Experts in literature appreciate him not for the quantity of his works but for their quality, in a word, for his artistry. In his works, he has succeeded in combining the elements of the Yoruba oral tradition with those of the western culture. Soyinka analyses the conflict between tradition and modernity and defines the part the writer as an artist has to play in the traditional and modern societies. This will lead to a synthesis of tradition and modernity in African literature. As a committed writer, Soyinka denounces all forms of oppression and militates in favor of solidarity and social justice. His political commitment appears in his drama which he considers as a revolutionary weapon
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Migliavacca, Adriano Moraes. "Death and the King’s Horseman : analysis and translation into portuguese." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/186109.
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Na moderna literatura africana, poucos autores se destacam tanto quanto o dramaturgo, poeta, ensaísta, memorialista e ficcionista nigeriano, de origem iorubá, Wole Soyinka, internacionalmente célebre e ganhador do Prêmio Nobel de Literatura em 1986. Soyinka é conhecido sobretudo como dramaturgo, e seu teatro se caracteriza pelo uso de uma variedade de gêneros literários, formas, linguagens extraliterárias, como a dança e a música, e outros recursos relacionados à cultura iorubá. A obra de Soyinka, escrita em inglês, incorpora tanto elementos das literaturas ocidentais quanto das africanas, e seu inglês é marcado pela constante visitação da oralidade iorubá em provérbios, metáforas e fragmentos de poemas tradicionais assim como sua dramaturgia incorpora elementos do teatro tradicional de seu povo. Acima de tudo, seus enredos, que incluem temas atuais como corrupção, lutas por poder e conflitos entre o indivíduo e seu grupo, estão alicerçados na visão de mundo e cosmogonia iorubá, contendo ainda diversas referências mitológicas e rituais. Em outras palavras, Wole Soyinka se caracteriza, antes de tudo, como um escritor iorubá, cuja obra, cosmopolita em seus temas e conflitos, encontra suas raízes e enquadramento filosófico na visão de mundo de seu povo. É nessa forte presença de elementos iorubás que se encontra um dos maiores interesses das obras de Wole Soyinka para o Brasil. Sabemos que, nos últimos tempos, está havendo uma considerável valorização de elementos de origem africana presentes na cultura nacional, dentre eles, os encontrados nas religiões de matriz africana, que se mostram verdadeiros repositórios de mitos e símbolos de grande riqueza semântica. Tais mitos e símbolos presentes nessas religiões são majoritariamente de origem iorubá. Ler a obra de Soyinka no Brasil, portanto, é buscar uma nova forma de se relacionar com esses elementos e de valorizá-los em sua dimensão literária. Entre as peças de Wole Soyinka, a mais conhecida é provavelmente Death and the King’s Horseman, publicada em 1975 e com diversas realizações teatrais na Nigéria, Estados Unidos e Reino Unido. Baseada em uma situação real na Nigéria colonial, em que um costume do povo iorubá entrou em conflito com a ordem britânica, tal peça é aquela em que visão de mundo e mitologia iorubá estão mais bem articuladas com uma linguagem rica em gêneros e fragmentos da literatura oral iorubá, sendo particularmente proveitosa para uma aproximação cultural. Esta tese oferece uma análise da peça baseada em noções da cultura, da mitologia e da visão de mundo iorubá e nas teorias estéticas e metafísicas do próprio Wole Soyinka. Destacam-se nesta análise os aspectos simbólicos, míticos e metafísicos, assim como os estéticos. Essa análise é precedida de um estudo sobre dimensões da cultura iorubá importantes para o entendimento da peça, tais como história, religião, mitologia, filosofia e artes. Em seguida, as teorias estéticas de Wole Soyinka são estudadas sobre o pano de fundo das discussões literárias vigentes na África no período em que Soyinka engendrava tais teorias. É a partir desses elementos que a peça é analisada. Acima de tudo, esta tese oferece uma tradução de Death and the King’s Horseman que busca valorizar seu conteúdo lírico, suas várias linguagens e suas perspectivas filosóficas, com base nos estudos que foram feitos nos capítulos precedentes, concluindo a tese com observações sobre o processo de tradução.In modern African literature, few authors stand out as much as the Nigerian playwright, poet, essayist, memorialist, and novelist, of Yoruba origin, Wole Soyinka, internationally acknowledged as the winner of the 1986 Nobel Prize for Literature. Soyinka is known above all as a playwright, and his theatre is characterized by the use of a variety of literary genres, forms, extra-literary languages, such as dance and music, and other resources related to Yoruba culture. Soyinka’s work, written in English, includes elements from both Western and African literatures, and his English is marked by the constant presence of Yoruba orality in proverbs, metaphors and fragments of traditional poems as much as his dramaturgy embodies elements of the traditional theatre of his people. Above all, his plots, in such current themes as corruption, struggle for power and conflicts between individual and the community, are stippled on Yoruba worldview and cosmogony, containing as well many mythological and ritual references. In other words, Wole Soyinka characterizes himself, above all, as a Yoruba writer, whose work finds its roots and philosophical framework in the worldview of his people. It is in the strong presence of Yoruba elements in virtually all the ambits that we find one of the greatest interests of Soyinka’s works for Brazil. It is well-known that, in later years, there has been an increasing valuation and interest for elements of African origin in national culture, including those found in African-Brazilian religions, which are actually pools of myths and symbols of great semantic wealth. These myths and symbols found in those religions are, in their majority, of Yoruba origin. Reading Soyinka’s works in Brazil, therefore, is a way of relating to these elements and valuing them in their literary dimension. Among Soyinka’s works, the best-known is probably Death and the King’s Horseman, published in 1975 and with many productions in Nigeria, the United States and the United Kingdom. Based on an actual event that took place in colonial Nigeria, in which a Yoruba native habit conflicted with the British rule, this play is the one in which Yoruba mythology and worldview are best articulated with language that is rich in genres and fragments of Yoruba oral literature, being particularly fruitful for a cultural encounter. This dissertation offers an analysis of the play base on notions of Yoruba culture, mythology, and worldview and on Soyinka’s own aesthetic and metaphysical theories. This analysis highlights the symbolical, mythical and metaphysical, as well as aesthetic aspects. It is preceded by a study on important dimensions of Yoruba culture for the understanding of the play, such as history, religion, mythology, philosophy and arts. After that, Wole Soyinka’s aesthetic theories are studied against the background of the current literary discussions in Africa at the time. It is from these elements that the play is studied. Above all, this dissertation offers a translation of Death and the King’s Horseman that values its lyrical content, its many artistic languages and its philosophical perspectives based on the studies conducted in previous chapters and concluding with observations about the translation process.
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Fioupou, Christiane. "La route : realite et representation dans l'oeuvre de wole soyinka." Montpellier 3, 1991. http://www.theses.fr/1991MON30011.
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Sur une interpretation des realites geographique, sociale, economique et politique de la route, wole soyinka tisse des reseaux metaphoriques et mythiques se structurant sur la figure centrale d'ogun, dieu yoruba du fer, de la creativite et de la destruction. . . Et aussi dieu de la route. C'est autour du theme de la route, qui parcourt toute l'oeuvre de soyinka (theatre, roman, poesie, essais) que s'articule une multiplicite de correspondances en rapport avec l'ambivalence d'ogun : ceci conduit a un questionnement sur les notions de route devorante et de "dieu glouton", de vie et de mort, d'accident et de sacrifice, d'art et de science. Le langage verbal et non-verbal de the road permet d'acceder aux routes de la "transition" - espace metaphysique yoruba reinterprete et transforme en mythologie personnelle par soyinka. Conjointement a ces differents parcours, soyinka trace des itineraires lies a la quete et toute la problematique deja evoquee se repercute sur la route du pouvoir, avec ses chauffards de la religion, de la politique et meme de la critique litteraire. Les ecrits de soyinka se renouvellent constamment, alliant mythe et histoire, comedie et tragedie, satire et poesie, parodie, humour et ironie. Ces multiples routes, fruit de "l'eclectisme selectif" de l'auteur, se rejoignent dans le ruban de mobius que soyinka s'approprie comme "route d'ogun" : ce "cercle mathe-magique" temoigne bien d'une pensee remarquablement coherente et antidogmatique qui se structure non pas sur une voie unique et peremptoire mais plutot sur la multiplicite des routes du systeme de divination ifaFrom the geographical, social, economic and political reality of the road, wole soyinka weaves a network of metaphorical and mythical variations linked to the central figure of ogun, the yoruba god of iron, war, creativity and destruction. . . And also god of the road. The theme of the road pervades soyinka's plays, novels, poems and essays. It is connected with ogun's ambivalence and encompasses the relationships between the road as a man-eater and as a "gluttonous god", life and death, accident and sacrifice, art and science. The verbal and non-verbal language of the road gives insights into the road as the symbolic representation of "transition", a yoruba metaphysical notion that soyinka appropriates, revitalizes and integrates into his own private mythology. Concurrently, soyinka maps out other itineraries related to the quest motif;he also explores the realms of power, showing that some "specialists" of politics, religion and even literary criticism are the metaphorical equivalent of reckless and dangerous drivers. Soyinka's writings are a constant renewal of myth and history, comedy and tragedy, satire and poetry, parody, humour and irony. It is through his "selective eclecticism" that soyinka appropriates the mobius strip as his personal symbol of "ogun's road": this "mathe-magical ring" perfectly illustrates soyinka's highly coherent vision which is based not on a single prescriptive and dogmatic road but rather on the multiplicity of roads as found in the ifa divination system
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Kacou-Koné, Denise. "Shakespeare et Soyinka : un parallèle thématique et conceptuel." Montpellier 3, 1985. http://www.theses.fr/1985MON30060.
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Ross, Simon John. "Theories of African fiction : writing between cultures." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239020.
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Ba, Amadou Oury. "Interkulturalität und Perspektive : zur Präsenz Goethes und Brechts in Themen der kritischen Intelligenz Afrikas : am Beispiel Senghors und Soyinkas." Hamburg Kovač, 2006. http://www.verlagdrkovac.de/3-8300-2145-3.htm.
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EL, HAFI FETHIA. "Le rituel : changement et vision sociale dans l'oeuvre dramatique de wole soyinka." Montpellier 3, 1999. http://www.theses.fr/1999MON30072.
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Le rite traditionnel , les croyances , les mythes et les legendes yorouba constituent les fondements de cette etude du theatre rituel de wole soyinka. Le mythe du dieu ogun , premier acteur et premier vainqueur de la transition , est l'element sous-jacent a l'ensemble de la recherche. Nous examinons d'abord les aspirations de l'individu , en integrant la dimension collective , qui est le point d'ancrage de la tragedie soyinkienne. Le mecanisme du sacrifice est ainsi considere a travers l'exploration des rites de passage , de purification et de communion. Eu egard au role du theatre rituel dans la realisation de la cohesion sociale , nous analysons ensuite les phenomenes de mediation et de transition , en mettant l'accent sur la nature et le pouvoir devastateur des etres transitionnels, en l'occurence les mediateurs du rite et les chefs spirituels. Le besoin d'agents de changement obeissant a l'archetype ogunien apparait comme un element central de la philosophie soyinkienne. De leur double fonction de guerisseurs et d'acteurs de la reforme sociale se degage un espoir de regeneration de la societe. Des facteurs rituels tels que la musique , les dances , le phenomene egungun et le masque permettent alors de mettre en evidence l'interet de la communaute yorouba pour le theatre.
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Bissiri, Amadou. "Symboles de vie et de mort dans l'oeuvre dramatique de Wole Soyinka : analyse thématique et littéraire." Montpellier 3, 1988. http://www.theses.fr/1988MON30050.
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Le theatre de wole soyinka plonge ses racines dans la culture traditionnelle yoruba. Et, dans son esthetique comme dans son essence, c'est un theatre qui fonctionne selon le principe rituel. Dans un tel contexte fondamentalement religieux, le phenomene de la vie et de la mort devient complexe, recouvrant differentes dimensions et regions de l'existentiel. Le symbole prend alors toute sa signification. Deux cadres operatoires ont ete determines pour saisir le mode de representation et la signification des symboles de vie et de mort: un cadre socioreligieux avec les rites et certaines de leurs composantes visuelles et auditives, et un cadre relatif a l'environnement naturel avec des elements comme l'aquatique, le tellurique, le vent etc. . . En somme, dans l'ensemble de ses dimensions existentielles, l'homme de soyinka est au centre du binaire vie-mort. Mais bien que les forces de mort soient constamment presentent dans son theatre, c'est tout de meme la notion de vie qui apparait comme la realite fondamentale et qui sous-tend la dynamique de l'imaginaire de soyinkaSoyinka's theatre has its roots in traditional yoruba culture. Also, it is aesthetically and fundamentally based on ritual. In such a profoundly religious context, life and death concept becomes very complex as it encompasses various dimensions and areas of the existential and gives the symbol all its significance. In order to comprehend the mode of representation and the meaning of life and death symbols, we have chosen two frames of reference. The first one is concerned with socio-religious realities and includes the rituals along with some of their visual and auditive components; the second in about the natural environment, and analyses such elements as water, earth, wind etc. On the whole, through every dimension of his existence, man is at the core of the life and death phenomenon. But although the forces of death are constantly present in soyinka's drama, it is the notion of life which is the underlying reality in his literary universe
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Quaicoe, Lloydetta Ursula. "Rethinking Greek tragedy in African contexts, a study of Ola Rotimi and Wole Soyinka." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq25881.pdf.
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Shalaby, Mahmoud Moustafa. "Politics and poetics in the drama of Salāḥ 'Abd al-Sabūr and Wole Soyinka." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7788.
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The originality of this study stems primarily from its comparative nature, with its substantive focus on the Egyptian playwright Salāḥ 'Abd al-Sabūr who wrote in Arabic and the Nigerian dramatist, Wole Soyinka (1934), writing in English. It thus attempts to address a gap in comparative research which has so far been largely confined to comparative studies of either Western writers and African counterparts or Western writers and Arab counterparts, but rarely combined Arab and African writers. This thesis investigates selected dramatic works of the two playwrights seeking to reveal the various manifestations of poetics and politics in their drama. The aim is to find the theatrical connection between the two dramatists, a connection that could shed more light on the aesthetics of their drama and the sources of influence on them. My main concern has been, firstly, to explore Nietzsche’s influence on their drama; secondly, to analyse the dynamic relationship between their dramatic content and the local cultural and political environment of Egypt and Nigeria; and thirdly, to examine the use of history as a means of addressing contemporary issues. The first chapter is a discussion of Soyink ’s The Bacchae of Euripides. It investigates the impact of Nietzsche’s ideas, particularly those voiced in The Birth of Tragedy (1872), on Soyink ’s critic and dramatic perspectives. In the second chapter 'Abd al-Sabūr' Night Traveller is discussed. In this chapter I attempt to explore how the Egyptian playwright presente Nietzsche’s theological ideas in dramatic form. I also attempt to show how ʻAbd al-Sabūr adapted Nietzsche’s concepts to fit in with the aesthetics of modern drama in Egyptian culture. Chapter Three examines the use of religion in their drama. Religion features as an important source which afforded both ʻAbd al-Sabūr and Soyinka sufficient material for rituals, symbols, allusions, metaphors and language. In Chapter Four, the dramatists’ views and use of history is explored. The value of history and its intricate relationship to aesthetics in drama is discussed within the frame of modernism and in the light of Nietzsche’s controversial ideas of history. Chapter Five examines the interrelation between politics and poetics in the theatre of the two dramatists. It presents an attempt at a postcolonial reading of selected plays. Chapter Six explores the image, role and dilemma of the intellectual. The role assigned to this figure is important in understanding their view of theatre and its function in society. The thesis finally argues that both 'Abd al-Sabūr and Soyinka established a theatre that was based on syncretism of indigenous traditions and foreign influence. Their dramatic works tackle local issues in theatrical forms that are not necessarily indigenous. While ʻAbd al-Sabūr' drama was highly literary and its theatricality was not obviously compelling, Soyink ’s possessed theatrical elements that made their performance vividly interesting for audiences.
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Anzah, Nehemiah M. "Corpus-formes romanesques chez Wole Soyinka et Tchicaya Utam'si : éléments pour une poétique comparée." Paris 3, 1999. http://www.theses.fr/1999PA030136.
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Wole soyinka et tchicaya utam'si sont deux ecrivains africains de la meme generation. L'ecriture romanesque chez les deux auteurs presente des caracteristiques communes tant dans la forme que dans le contenu. Les deux elements sont indissociables dans leurs textes. Cette ecriture qui se veut 'realiste' et vraisemblable dans son mode de representation et dans sa realisation des faits est un 'miroir critique' socio-historique, et souvent avec un discours omniscient et transcendental. La creation romanesque chez tchicaya utam'si et wole soyinka est le 'topos' du proces de la realite socioculturelle et historique, dont le centre est l'enjeu spatial. Avec tchicaya utam'si et wole soyinka la litterature africaine s'est transformee d'une sphere heuristique a celle de praxis
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Toure, Farah Marie Claire. "Identité politique et identité individuelle : un rapport anomique dans le roman de Wole Soyinka." Toulouse 1, 1989. http://www.theses.fr/1989TOU10021.
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La guerre civile que décrit Soyinka pose le problème de l'identité politique des individus dans les nations dites "nouvelles". Le conflit consacre l'éclatement de la communauté nationale, la désintégration du tissu social et des institutions politiques. C'est ce que traduit chez l'auteur le terme d'anomie ; les conséquences d'un tel climat sont doubles : c'est un état de non-société, et l'individu se retrouve isolé, il vit de ce fait une crise d'identité. Les carences dans le système viennent de l'insuffisance de l'organe politique, car il lui est indifférent d'intégrer les individus dans la structure globale. Cette logique répond à des intérêts politiques qui sont inadaptés à ceux de l'individu, car celui-ci pour développer une identité positive source d'épanouissement individuel et collectif a besoin d'un milieu culturel propre. Qui peut le lui procurer en traduisant ce désir? L'intellectuel, l'homme de lettres en particulier peut jouer ce rôle, en étant cependant conscient des limites et particularités qui incombent a sa fonctionThe civil war that describes Soyinka points out the individuals problem of identity in the so-called "new" nations. The conflict consecrates the burst of the social texture and the political institutions. That is the meaning of the concept of "anomy" in the author's topic. The consequences of a such situation are double. There is a situation of non-society and the individual finds oneself isolated, and consequently lives an identity crisis. The political fonction is responsable of the deficiencies in the system, because it is indifferent to integrate the individuals in the global society. His logical comply with political interest which are inadapted to the individuals one, because he needs his own cultural field to develop a positive identity, which is at the origin of self and collective opening out. Who can traduce this need? The intellectual, the writer in particular can satisfy this desire, but he must be conscient of the limits and particularities of his fonction
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Ilori, Oluwakemi Atanda. "The theatre of Wole Soyinka : inside the liminal world of myth, ritual and postcoloniality." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15733/.
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Wole Soyinka was awarded the Nobel Prize for Literature in 1986, the first African recipient of this honour, for his body of works covering plays, novels and poetry. Soyinka is also a literary and cultural theorist, a memoirist, and a social activist, known internationally for his campaign against tyranny and injustice. This and many other dimensions of his career as a man of letters, his cultural background and the postcolonial context in which he writes flow freely into his creative works. This study describes Soyinka’s theatre, based on eight major plays published between 1960 and 1996. This is the peak of Soyinka’s literary career and provides the most illustrative instances of the maturation of his art and thematic concerns. Using the selected plays as focal points, a critical appraisal of Soyinka’s characters and their cosmos, and the development of the key ingredients of his theatre is undertaken. It is argued that Soyinka’s theatre portrays a liminal world in which myth, ritual and postcolonialism are ascendant elements. The main framework for this argument is Barthes’s poststructuralism but other theorists apply as well, including Bhabha, Eco, Foucault, Hutcheon, Jeyifo, Jung, Kristeva, Levinas, Olaniyan, Turner, Van Gennep, Vermeulen and Akker, and Soyinka himself. Accordingly, this study opens new frontiers on Soyinka by delving into key concepts such as liminality, postcoloniality, modernism, postmodernism, metamodernism, abjection, “othering”, and intertexuality as they apply to Soyinka’s theatre. It features a wide-ranging discourse on Soyinka’s “fourth stage” as a form of applied dramatic theory in which the poetics of myth and ritual and the postcolonial distinctions of Soyinka’s theatre find congruence. Myth and ritual ensconce Soyinka’s dramatis personae in a way that prepares them for and, crucially, prevents them from overcoming the gulf between their personal volitions and the will of their community.
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Augustine-Davis, Christina. "La Femme métaphore du salut dans les romans d'Ayi Kwei Armah et de Wole Soyinka." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604286f.
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Ouedraogo, Amadou. "Le Symbolisme aquatique dans les oeuvres de Wole Soyinka, Ayi Kwei Armah et Kofi Awoonor." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617209x.
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Ouedraogo, Amadou. "Le Symbolisme aquatique dans les oeuvres de Wole Soyinka, Ayi Kwei Armah et Kofi Awoonor." Grenoble 3, 1988. http://www.theses.fr/1988GRE39021.
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Dans les oeuvres de wole soyinka (du nigeria), d'armah et d'awoonor (du ghana), l'eau est l'element de loin le plus valorise. Elle apparait d'abord, ineluctablement liee a la femme et a la terre, car elles sont toutes feminines et maternelles. Le mythe de yemoja, divinite marine et divinite mere (de la mythologie yoruba) permet d'affirmer que l'humanite est nee de la mer. L'eau, la femme et la terre, toutes principes de fecondite, de forces vitales, partagent egalement les memes ambiguites de fascination et de repulsion; ce qui se traduit par le caractere ambivalent devolu a ces elements surtout chez soyinka. L'eau sous forme de pluie est consideree comme manifestation de la transcendance, et comme sperme cosmique destine a feconder la terre. Element vital, l'eau est tout aussi un remarquable support symbolique de la mort, de la melancolie et du desespoir. Cela est suggere par les images de l'eau boueuse, l'eau stagnante, le marais, l'eau nocturne. Profondeur insondable ou mer violente, elle represente aussi une menace redoutable face a laquelle l'homme reste impuissant. Par-dela cette dualite, l'element fluide (sous forme de sang ou de vin) est une valeur mystique essentielle qui permet a l'homme de communier avec la divinite et toutes les forces invisibles du monde. L'eau permet aussi la purification par le bain lustral et l'immersion. Elle symbolise l'inconscient humain et est un element consolateur pour l'homme. L'ecoulement de l'eau et la navigation representent l'existence et la destinee humainesIn the works of soyinka (from nigeria), armah and awoonor (from ghana), the most obviously expressed symbolism is that of water. First of all, water is ineluctably linked with woman and earth, as they are all feminine and maternal. The myth of yemoja, a sea divinity and mother of all divinities (in yoruba mythology) allows us to assert that mankind originates from the sea. Water, woman and earth are characterized by the same ambiguities of fascination and repulsion; and this is expressed by their ambivalence, especially in the work of soyinka. Water in the form of rain, is regarded as the manifestation of transcendence, and as a cosmic semen meant to fecundate earth. Though a vital element, water is also a remarkable symbol for death, gloom and despair. This is suggested by images of muddy waters, stagnant waters, and swamps. As fathomless depths or as violent sea, water represents a redoutable threat man can do nothing against. Beyond this duality, the fluid element (in the form of blood and wine) has a great mystic value which allows man to reconcile and keep in touch with divine and invisible forces of the universe. Water also permits purification, either by symbolic baths or by immersion. It symbolizes human unconscious and is a conforting element for man. Flowing water and navigation represent human existence and destiny
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Agboluaje, Oladipo. "Constructions of identity in contemporary African drama : a comparative study of Wole Soyinka and Zakes Mda." Thesis, Open University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272894.
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Bissiri, Amadou. "Symboles de vie et de mort dans l'oeuvre dramatique de Wole Soyinka analyse thématique et littéraire /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37611943k.
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Price, Amanda. "The theatre of promiscuity : a comparative study of the dramatic writings of Wole Soyinka and Howard Barker." Thesis, University of Leeds, 1995. http://etheses.whiterose.ac.uk/313/.
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The word 'artist serves as a pivot to the major concerns of this study. Consideration of its application and meaning in relation to contemporary society facilitates a detailed exploration and analysis of selected dramatic writings by Wole Soyinka and Howard Barker. The comparative nature of this work begins by charting the parallel journeys of these writers - within widely differing cultural contexts - from a critique of social determinations which serve to define and bound authorial intent to a process of "promiscuous" self-definition whereby the artistic imagination is used to name and designate a specific relationship to the cultural and social structures within which their work will be received. Working from a theoretical base which, in the case of Soyinka, finds its foundations in critique and commentary upon nationalist discourse, and in the case of Barker, rests upon contemporary critiques of Enlightenment reason, the study debates their development of theatrical form within both social and cultural contexts. Emphasis is placed upon the relationship of the author to the dramatic text, the creation of character and the defined channels of communication through which dramatic performance is to be received by the spectator. The concept of 'transgression' is explored as a key principle by which to define the 'theatrical' as opposed to the 'social' text. Chapters Four and Five link the work of Howard Barker and Wole Soyinka through the application of Nietzschean philosophy, with especial emphasis being placed upon the concept of genealogical history, the creation of the aesthetic, and the consideration of 'tragedy' as a means by which to offer resistant critique to the social imperative of national citizenship as a badge and boundary to identity. The formation of the 'tragic' or 'catastrophic' individual is explored through key dramatic texts, thus allowing dramatic form the status of a discourse in its own right. Throughout the study an attempt is made to develop an argument which allows the artist to be distinguished as one who speaks to his nation, rather than for his nation. With regard to the work of Barker and Soyinka this has involved both the exposure and exploration of a theatrical space unmapped by social cartography, and a peopling of the stage with creations who could be described as 'ethical' rather than 'political' individuals.
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Delgado, Sonia. "La vision de la société nigériane dans les romans de Chinua Achebe et le théâtre de Wole Soyinka." Paris 4, 1990. http://www.theses.fr/1991PA040237.
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Khan, Amara. "The use of masks in Indian and Nigerian theatre : a comparative study of Girish Karnad and Wole Soyinka." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13435/.
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Sène, Jean-Jacques Ngor. "Mythe et rituel dans la production théâtrale de Wole Soyinka ou La matrice d'une conscience sociale toujours en éveil." Rennes 2, 1999. http://www.theses.fr/1999REN20042.
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Le @mythe suggère une réalité mystérieuse, sacrée. Les rites peuvent etre définis comme la réactualisation solennelle d'évènements religieux dont les origines se perdent dans la nuit des temps. L'écrivain engagé sait que la parole est action. Il sait que dévoiler, c'est changer, et qu'on ne peut dévoiler les maux de la société qu'en projetant de les changer. Le rôle du théâtre est de pousser les hommes au progrès en les aidant à bien identifier leurs maux, à en déterminer les causes et à situer les responsabilités. La production théấtrale de Wole Soyinka s'offre comme la matrice d'une conscience sociale toujours en éveil. Il est le chantre de la cosmogonie et de l'esthétique yorouba revisitées par sa pensée. Avec le mythe d'Ogun, la cosmogonie yorouba acquiert une certaine plénitude. Ses rites de passage témoignent du point de départ de tout rituel, car c'est Ogun qui le premier a ouvert la voie entre les dieux et les hommes. Dans la production théâtrale de Soyinka, l'homme évolue dans un univers où cohabitent les vivants, les morts et les enfants à naître, tous tendus vers une même fin : la conquête du sens profond de l'existence, la capacité de répondre librement aux appels de sa conscience, la nécessité de conduire des combats socio-politiques. Mais tout pouvoir serait paralysé s'il ne trouvait dans la société porteuse des véritables forces vivantes l'énergie nécessaire à son action. Le théâtre de Soyinka opère sur un axe où se situent la philosophie, la création culturelle, l'ensemble de l'expérience religieuse du monde noir. Les difficultés de la formulation du devenir cultuel africain aujourd'hui sont multiples parce que liées aux conditions économiques et politiques dégradées. Au coeur de la mythopoétique soyinkai͏̈enne prend forme une réflexion métaphysique qui dit l'initiative, l'élan, l'aventure de l'esprit en quête de lui-mêmeThe @word myth conveys something mysterious and sacred and ritual can be defined as the re-enactment of religious events whose originals are lost in the gloom of time. A committed writer is fully aware of the lyrical power of his art, which is by its very nature a mediium for change. Theater properly responds to the changing pattern of events and to the dynamics of any situation and Wole Soyinka's drama can be seen as the womb of a never-fading social consciousness. The Nigerian dramatist advocates objectivity in literature, the displaying of the other side-the evil side- which, alas, often overtakes human beings. He is deeply rooted in the cosmogony and aesthetics of his people, the Yoruba and also a true disciple of Ogun, the first deity to dare the gulf of transition between the realm of gods and humanity. Soyinka's drama not only aims at the comprehensive world of myth, repetitive history and mores but it also suggests some ways of conquering the effective power of the individual in the actual tragic context of modern Africa social issues. The African artist's mythopoesis calls us to immerse thoroughly within the whirpool of cosmic forces, understand their nature, rescue the combative nature of the will and emerge wiser
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Sturzbecher, Agnes Jahn. "A primeira tradução de o leão e a joia, de Wole Soyinka, para o português do Brasil : análise descritiva da oralidade." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/20913.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-06-27T13:25:03Z No. of bitstreams: 1 2016_AgnesJahnSturzbecher.pdf: 2134367 bytes, checksum: fad79fd4fb6c63aa2a248c511ade069c (MD5)
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A presente dissertação tem por objetivo analisar e descrever comparativamente a primeira tradução para o português do drama The lion and the jewel (1959), do escritor nigeriano, Wole Soyinka (1934-) publicado pela editora Geração Editorial, em São Paulo, em 2012. Wole Soyinka foi o primeiro escritor nigeriano a receber o Prêmio Nobel de Literatura, em 1986, sendo de extrema relevância para os estudos da literatura nigeriana. Para tal análise e descrição, foi escolhido o método descritivo de textos literários traduzidos proposto por José Lambert e Hendrik Van Gorp (1985) por permitir uma análise detalhada não somente do texto de partida e de chegada, mas também dos seus discursos de acompanhamento, contextos de publicação e tradução, isto é, por descrever a obra dentro dos seus sistemas literários de partida e de chegada, dividindo-se em quatro etapas: dados preliminares, macroestrutura, microestrutura e contexto sistêmico. Alguns questionamentos levantados referem-se à teoria de tradução teatral dentro do contexto independentista, à função da obra de partida e de chegada e ao papel do tradutor brasileiro. Os dados para a análise permitem observar algumas características como: a inserção de Soyinka no sistema literário brasileiro por um motivo outro diferente do seu engajamento político pós-independentista na literatura nigeriana – pela sua adequação dentro do cânone literário europeu; a variedade dos discursos de acompanhamento (cf. Genette (2009)), sendo eles prefácio, glossário, fotografias da primeira encenação da peça e breve biografia do autor; a polifonia discursiva dos personagens (cf. Bakhtin (2003)), que reflete do embate Ocidente-Oriente criticado na obra; a padronização dos registros de fala na tradução (cf. Braga (2013)); e algumas compreensões equivocadas de frases por parte do tradutor. Os resultados obtidos indicam, com relação à tradução, que esta foi domesticada no que diz respeito às redes de significantes internas ao texto e estrangeirizada no que diz respeito ao léxico, o que traz a obra para mais perto do público alvo. Além disso, o tradutor domesticou o texto ao aproximá-lo do leitor, resguardando algumas caraterísticas estrangeiras, segunda a concepção bermaniana de Outridade (cf. Berman (2013). _________________________________________________________________________________________________ ABSTRACT
This master's thesis aims to comparatively analyze and describe the first translation into Portuguese of the drama The lion and the jewel (1959), by the Nigerian writer Wole Soyinka (1934-) published by Geração Editorial, in São Paulo, in 2012. Wole Soyinka is the first Nigerian writer to receive the Nobel Prize for Literature, in 1986, which is extremely important for the Nigerian literature studies. In order to perform such analysis and description, the method used was the theoretical scheme of description of translated literary texts proposed by José Lambert and Hendrik Van Gorp (1985). This scheme allows a detailed analysis not only of the source and target texts, but also their paratexts, publication and translation contexts. In other words, to describe the work within their source and target literary systems, the scheme is divided into four stages: preliminary data, macrostructure, microstructure and systemic context. Some questions raised relate to the theatrical translation theory within the independence context, the functions of the source and target works, and the Brazilian translator’s sociocultural role. Among the results of the analysis, it is possible to discuss some relevant aspects, as: Soyinka’s insertion in the Brazilian literary system for a reason other than its post-independence political literary engagement but for his suitability within the European literary canon, and the variety of the work surrounding discourses (cf. Genette (2009)), such as the preface and the glossary, the first staging performance photographs, and the author's brief biography. There are also some comments about the discoursive polyphony of the characters (cf. Bakhtin (2003)) reflecting the East-West clash, as criticized in this work, about the standardization of varieties of speech in the translated text (cf. Braga (2013)), and some misunderstandings the translator had. Moreover, the results show that the translation has been domesticated, in relation with its intern meaning nets, and it has been foreignized in its lexical choices. Therefore, the Brazilian translator tried to get the translated text closer to its reader, keeping some of its foreign characteristics, in line with to Berman’s conception of Otherness (cf. Berman (2013).
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Dia, Makhmouth. "Comique et tragique : la dramaturgie de Wole Soyinkia à l'épreuve d'une problématique théâtrale africaine." Caen, 2009. http://www.theses.fr/2009CAEN1560.
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Cette thèse étudie le comique et le tragique dans le théâtre de Wole Soyinka. D'une part, elle analyse les représentations ainsi que les rapports dramaturgiques de ces catégories génériques dans son œuvre et, d'autre part, les place dans le contexte idéologique et sociologique africain moderne. Selon la critique, l'alliance du comique et du tragique constitue un des plus grands piliers du théâtre africain contemporain. Ce travail évalue la nature, les formes et les enjeux de cette alliance chez Soyinka. Dans la même optique, l'objectif est de déterminer le rôle du comique dans la tragédie africaine. Le dramaturge nigérian a proposé une tragédie africaine, à travers la cosmogonie, le rituel et la métaphysique yorouba. Mais comme souvent dans les propositions de tragédie africaine, il a sous–estimé le comique dans ce processus. Pourtant la complexité du comique dans son œuvre incite à une autre approche. D'une manière générale, la critique a semblé mal apprécié l'aspect comique dans la tragédie africaine. Pourtant, même si c'est un sujet insuffisamment étudié, les tragédies font rire le spectateur africain. On dit également que le rire et la célébration accompagnent la vie quotidienne en Afrique, même pendant les moments tragiques. L'œuvre de Soyinka illustre que ce comique, ce rire et cette célébration sont l'expression d'une tragédie de l'homme moderne. Le but de ce travail est aussi, à cet égard, d'identifier une tragédie africaine à travers la dramaturgie du comique. Le texte dramatique, le processus historique et esthétique et la poétique de la réception sont les axes sur lesquels repose cette expressionThis research is a study of the comic and the tragic in the theatrical work of Wole Soyinka. It analyses, on one hand, the depiction and the dramaturgical relations between the comic and the tragic in his drama and, on the other hand, relates them to the sociological and ideological context of modern Africa. The association of the tragic and the comic is one of the most important pillars of contemporary African drama, according to critics. The aim of this research is to examine the nature, the forms and the meaning of this association in Soyinka’s drama. From the same viewpoint, the aim is to determine the place of comedy in African tragedy. The Nigerian dramatist has proposed an African tragedy based on Yoruba cosmogony, rituals and metaphysics. However, as it is usually the case with propositions of African tragedy, Soyinka has underestimated the comic in the process. Yet, the complexity of this comic invites to a different approach. Broadly speaking, critics seem to have misjudged the comic aspect in African tragedy. Although it is less researched area, it is known that African audiences laugh during representations of tragedies. It is also said that laughter and festivity are part of daily life, including during its tragic moments. On this respect, the aim of this research is to identify an African tragedy through the drama of comic. Soyinka’s drama shows that this comic aspect, this laughter, and this festivity are at the expression of man’s modern tragedy. The dramatic text, the historical and aesthetic process, and the poetics of its reception are the pillars of this expression
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De, Mel Fyona Neloufer Sharain. "Responses to history : the re-articulation of post-colonial identity in the plays of Wole Soyinka and Derek Walcott 1950-1976." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587555.
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The thesis will discuss the plays of the Nigerian Wole Soyinka and St.Lucian Derek Walcott as sites in which the playwrights are engaged in a dialogue with their colonial history, and in response to its impositions, re-• articulate post-colonial identities. Soyinka and Walcott have been chosen as case studies of the post-colonial re-articulation of identity because they offer two important broad options available to the post-colonial today. Soyinka has recourse to a viable indigenous Yoruba culture which he posits as an alter/native tradition to the coloniser's. Walcott on the other hand, the victim of a far more deracinated saga, feels he has no such "native" tradition to recoup, and re-writes the history of the Caribbean through European metaphors. The thesis will show however that although the playwrights re- articulate their identities in radically different ways, their strategies for doing so are less divergent than they appear at first. Both Soyinka and Walcott negotiate their post-coloniality from within the coloniser's own discourse, with the references and paradigms of the European "Centre". In marking this, the thesis points to the fact that their work reflects the contradictions that constitute post-coloniality itself, for by challenging the coloniser's impositions of colonial identity through the coloniser's discourse they affirm that which they deny and deny that which they affirm, rehearsing the contradictions and complicities their post-colonial identities are predicated on. The thesis is in two parts. Part 1 begins with a general introduction to both playwrights in which their autobiographies Ake and Another Life are looked at to situate them in the context of their personal and larger histories. Chapters 2, 3 and 4 deal specifically with Soyinka. Myth, Literature and the African World is discussed as a site in which Soyinka is engaged in a de-colonizing project, constructing paradigms from the Ogun myth for the benefit of both a wider English speaking/reading audience and "alienated" African, after which A Dance of the Forests, The Strong Breed, Death and the King's Horseman and The Bacchae are read as texts which illustrate the paradigms constructed in Myth. Part 11 deals with Walcott. Chapter 5 discusses Walcott's essays on history against other articulations of identity such as Black Power, and his use of the Crusoe story as a paradigm for the West Indian experience is analyzed. Chapters 6, 7 and 8 discuss Henri Christophe, Sea at Dauphin, Ti- Jean and His Brothers and Dream on Monkey Mountain as plays informed by Walcott's central concerns on the nexus of history and identity in the West Indies.
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Ofoego, Obioma. "Soyinka's language." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20027.
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Le titre anglais de cette thèse, Soyinka’s Language – calqué sur celui de l’ouvrage de Frank Kermode, Shakespeare’s Language – est traduit librement en français par Les mots de Soyinka en mouvement pour évoquer la richesse poétique de ‘language’ dans ce contexte littéraire. Cette étude adopte l’approche de Kermode pour analyser un corpus d’oeuvres de Wole Soyinka (neuf pièces de théâtre et deux essais), dans la tradition critique anglaise de ‘close reading’. Les mots nous pénètrent malgré nos efforts pour nous tenir à l’écart de l’expérience (The Lion and the Jewel; le diptyque Jero). Ils peuvent également rendre concret le passage d’un monde à un autre – par exemple, à travers un vocabulaire pédagogique qui tombe rapidement en désuétude (The Road; Madmen and Specialists). Comment exprimer, comment articuler sur scène la notion ambivalente de la distance – d’un côté, la distance de la théorie, de l’objectivité; de l’autre, l’absence d’empathie, de compréhension humaine – (The Strong Breed, A Dance of the Forests, The Bacchae of Euripides, et The Burden of Memory)? Il s’agit d’un problème rhétorique qui s’apparente à un risque d’autarcie ou de solipsisme. Désamorcé dans la prose de The Man Died, ce risque sert de repoussoir, pour Soyinka dans Myth, Literature and the African World, à l’articulation d’une conception (yoruba) de l’existence, dont les tensions constitutives s’expriment à travers les ressources rhétoriques de la poésie orale. Cette étude se termine par une lecture de Death and the King’s Horseman, expression exemplaire de la tension entre l’affirmation de soi et le retour à la communauté, entre l’être et le non-êtreThe title of this thesis is an allusion to Frank Kermode’s Shakespeare’s Language. There, Kermode directed his attentions to Shakespeare’s dramatic verse, its poetry, demonstrating how the demands which words make on the ear might attune us to the insinuating possibilities of language, if attended to by a patient reader. This thesis adopts the same methodological principle, in approaching a number of Wole Soyinka’s dramatic and prose works in English. Throughout, it is concerned with his intelligence as expressed through literature. To this end, it does not hesitate to speculate, in the manner of Shklovsky, as to schemata which Soyinka might have used in order to ‘make’ his works. At the same time, it sees in formalism, for writer and would-be critic alike, the danger of words’ being cut off from the common human constituency and experience which assure their meaning. Words penetrate us, undermine our attempts to stand apart, draw us into a realm of consequence (The Lion and the Jewel; the Jero plays). Consequence, in turn, implies passage between two distinct moments, inviting us to reflect on how language can become strange (The Road; Madmen and Specialists). What happens to words in one who is content to look on from a distance, instead of participating? This is the starting point for a discussion of Soyinka’s interrogations of justice in The Strong Breed, A Dance of the Forests, The Bacchae of Euripides and The Burden of Memory. Implicit in onlooking is the risk of self-sufficiency. Warded off in the prose of The Man Died, self-sufficiency provides a foil to a Yoruba conception of being and tragedy, as articulated in Myth, Literature and the African World. The study culminates in Death and the King’s Horseman, which best enacts the tension between self-assertion and commonality, departure and return, being and non-being, in and through poetic language
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Syal, P. "A stylistic analysis of Idanre by Wole Soyinka and Relationship by Jayanta Mahapatra, in the context of non-native literature in English." Thesis, Lancaster University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379734.
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Ba, Amadou Oury. "Interkulturalität und Perspektive zur Präsenz Goethes und Brechts in Themen der kritischen Intelligenz Afrikas ; am Beispiel Senghors und Soyinkas." Hamburg Kovač, 2005. http://www.verlagdrkovac.de/3-8300-2145-3.htm.
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Kalumbu, John Lukwesa. "Traduction et dialogue des cultures : problematique de la traduction theatrale vue a travers l'adaptation en chibemba et la traduction en francais de the lion and the jewel de wole soyinka." Paris 3, 1997. http://www.theses.fr/1998PA030010.
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La these traite des problemes relatifs a la traduction du texte theatral. Elle s'emploie, plus concretement, a demontrer la fiabilite et l'universalite de la theorie de la traduction interpretative appliquee a la traduction theatrale. L'etude tente de demontrer que la traduction du theatre, ramene a ses proprietes fondamentales de l'enonciation, ne differe guere de la traduction du texte dit pragmatique, etant donne que le processus traductif repose dans les deux cas sur les memes operations cognitives et interpretatives. Malgre l'universalite des mecanismes mis en oeuvre par le traducteur, le texte litteraire presente, toutefois, des specificites stylistiques, voire fonctionnelles susceptibles d'influer sur sa traduction. Les conclusions obtenues de l'analyse du corpus permet de constater, en effet, que hormis les problemes linguistiques et culturels, la specificite de traduire le texte theatral procede essentiellement de la specificite meme du discours dramatique, paradoxalement situe entre l'ecriture et l'oralite. Puisqu'une piece de theatre n'a pas uniquement pour objet la transmission de messages, mais aussi la creation d'un impact theatral sur son auditoire, sa traduction vise, necessairement, la production d'un texte equivalent, tant au niveau du message qu'a celui de la theatralite du texte. L'analyse du discours dramatique, selon les parametres usuels de l'enonciation, demontre d'emblee que le sens n'est pas une donnee fixe ou statique mais une construction dynamique et interactive a la fois, de meme que l'examen du periple du sens construit et ensuite compris par des interlocuteurs veut que la traduction soit, elle-meme, une operation cognitive dont la demarche reste fondamentalement interpretative. Pour en illustrer la demarche, la these propose un schema exemplaire, presente sous forme d'un losange dont l'originalite consiste a (re)introduire dans le processus, traduisant le troisieme parametre rarement pris en compte par les theories purement linguistiques de la traduction: le destinataire du message traduitThe dissertation deals with problems related to the translation of theatrical texts. It seeks, more specifically, to show the universal nature of the theory of interpretation and it's relevance to the translation of dramatic texts. The study attempts to show, in the first instance, that the translation of theatrical texts does not differ from that of non-fictional or pragmatic texts since, in both cases, the process of translation is based on the same cognitive and interpretative procedures. Despite the universal nature of the translation mechanisms employed by translators, a literary text presents, however, a number of stylistic, formal and functional features capable of influencing it's translation. The conclusions drawn from the analysis of the corpus show that well beyond the linguistic and cultural constraints the particularity of translating dramatic texts resides mainly in the paradoxical nature of the dramatic text itself, combining both the written and oral discourses. Since the objective of a given play is not only limited to the transmission of messages but includes also the creation of a dramatic impact on the audience, its translation should necessarily produce an equivalent text, both in terms of the translated message and of dramatic performance. The analysis of dramatic discourse, in accordance with the usual parameters of enunciation, shows clearly that the meaning of a speech act is not a static entity but the result of a dynamic, interactive phenomenon; whereas the changing nature of meaning - constructed on the one hand and understood on the other - leads to the conclusion that the act of translating is, itself, a cognitive and interactive operation whose approach is fundamentally interpretative in nature. The interactive aspect of this process is summarised in a diagram represented by a rhombus figure, whose originality consists in (re)introducing in the translation process the third parameter, rarely taken into account by the linguistic theories of translation: the addressee of a translated text
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Quayson, Laud Ato. "Tradition(s) and the individual talent : the development of a Nigerian tradition of writing (with special reference to the works of Rev. Samuel Johnson, Amos Tutuola, Wole Soyinka and Ben Okri)." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261547.
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Talajooy, Saeed Reza. "Mythologizing the transition : a comparative study of Bahram Beyzaee and Wolfe Soyinka." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/406/.
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Bahram Beyzaee, the Iranian playwright, screenwriter and filmmaker, and Wole Soyinka, the Nigerian poet, playwright, and novelist have produced artistic works that transcend the limitations of time and locality to become powerful comments on human life and socio-political and cultural institutions. This research study examines the major themes and dramatic techniques of these two writers to demonstrate how, in two very different cultural settings, traditional modes and themes appear in modem art forms to renegotiate cultural identity. I argue that both writers place themselves in a post postcolonial position which rather than being concerned about 'writing back against the centre' reflects on the cultural shortcomings that leaves their people at the mercy of vicious internal and external forces. I also demonstrate how they demythologize the traditional superstitious beliefs that haunt the present, foreground the inauthenticity of the modern hybrid obsessions that distort everyday life in their countries and mythologize and glorify the positive aspects of history and contemporary life to redefine cultural identity in terms of the best their cultures can offer. The first two chapters give an account of the history of Iranian and Nigerian performance forms in the context of socio-political, cultural, literary and artistic movements and traditions. The third chapter proceeds to present a short discussion of the theatrical vision and themes of Beyzaee and Soyinka and embarks on a general comparison of the two writers. Chapter four is focused on Beyzaee and Soyinka's depiction of the intellectuals as sacrificial heroes whose death may initiate social purgation and cultural regeneration and liberation. Chapter five is less mythical and more sociopolitical. It is a reflection on the writers' portrayal of women in their works and their success or failure in transcending literary and cultural stereotypes in a world where the means of production and socio-economic facts and the cultural developments associated with them demand a rapid movement away from patriarchal values. Chapter six is devoted to the study of another major issue in the process of cultural transition, namely, redefining the position of ethnic minorities in the myth of nationhood. This last chapter is followed by a brief conclusion, discussing the results and the future possibilities of drama in the context of rapid transition.
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Abdourahman, Ismaïl Abdourahman. "Aspects du fantastique et romans négro-africains." Perpignan, 2003. http://www.theses.fr/2003PERP0473.
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Cette thèse porte sur l'étude des différents aspects du fantastique dans des romans négro-africains francophones et anglophones. Pour ce faire, nous nous sommes attaché, tout d'abord, à faire une lecture critique des ouvrages théoriques consacrés au fantastique afin de mettre en place une méthode d'analyse des romans négro-africains susceptible de nous aider à surmonter le clivage socioculturel existant entre les ouvrages théoriques et les romans négro-africains. A l'issue de cette lecture critique des ouvrages théoriques, nous avons pu dégager une méthode d'analyse littéraire qui tient compte des spécificités socioculturelles des romans négro-africains. Grâce à cette méthode critique basée sur les notions d'interculturalité et d'intertextualité, il nous a été alors possible de mettre en relief les deux aspects à travers lesquels le fantastique se manifeste sans les romans anglophones et francophones de l'Afrique noire : le fantastique de l'ambivalence et le fantastique du réalisme magique.
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Soro, Bakary. "La réception de Brecht en Afrique chez Wolé Soyinka, Alioum Fantouré et Ngugi wa Thiong'o." Université Marc Bloch (Strasbourg) (1971-2008), 2006. http://www.theses.fr/2006STR20026.
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La réception de Brecht chez Wolé Soyinka, Alioum Fantouré et Ngugi wa Thiong'o montre une certaine liberté que les auteurs africains s'octroient avec le texte de Brecht et qui nous fait réfléchir sur le rapport parfois ambivalent entre le regard que le "je" de ces auteurs porte sur "l'autre" qui est ici Brecht et ce que Brecht est en réalité. Dans le cas spécifique de Soyinka, de Fantouré et, dans une moindre mesure, de Ngugi, cette lecture devient une sorte de relecture de "l'autre" Brecht qui se voit ainsi "domestiqué" au point de devenir désormais, thématiquement et stylistiquement, un élément local dans leur complexe littéraire. Alors que Soyinka réactualise la tradition yoruba avec Brecht en toile de fond, faisant ressortir les éléments dramatiques qui interviennent dans les deux traditions africaine et européeenne, mais avec des fonctions poétiques différentes, Fantouré montre une réception ponctuelle et limitée à la reprise du cercueil de zinc dans Le Cercle des Tropiques, séparant toutefois le politique de l'idéologique. Seul Ngugi, de tendance marxiste, donne à la réception de Brecht, des contours plus affirmés avec un recours marqué au dramaturge allemandThe reception of Brecht in Africa in the works of Soyinka, Fantouré and Ngugi shows a certain freedom which the African authors make use of when dealing with Brecht-texts. This approach urges us to reflect upon the often ambivalent relationship between the "I" of these authors contemplating the "other", being Brecht, and what Brecht represents in reality. In the specific cases of Soyinka, Fantouré and, to a lesser extent, Ngugi, this reading becomes a new way of reading the "other", who now is "tamed" to the point of becoming thematically ans stylistically a local element in their literary complex. Soyinka reactualises the Yoruba-tradition with the help of Brecht, letting the dramatical elements emerge from both African and European traditions. These elements play a role in these two traditions, however with different poetical fonctions. Fantouré reflects a punctual reception of Brecht which is limited to the use of the "Zinc Coffin" in "Le Cercle des Tropiques". Fantouré differentiates between political aspects and ideology. It is only with Ngugi, a tendenciously marxist writer, that the reception of Brecht becomes strongly elaborated with a visible reference to the German author
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Neher, Christopher Hart. "The Role of Pentheus from Wole Soyinka's The Bacchae of Euripides: A Communion Rite." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392393480.
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Olaiya, Kolawole Pius. "The poetics and politics of Wole Soyinka and Athol Fugard." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=510587&T=F.
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Gottschalk, Bradford T. "Wole Soyinka and response theory Encountering texts from a different culture /." 1991. http://catalog.hathitrust.org/api/volumes/oclc/23260119.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1991.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves: 104-107).
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Lilleleht, Mark L. "Writing within the prison notes of Wole Soyinka and Breyten Breytenbach /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/41174557.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1998.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 92-100).
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Figueiredo, Rosa Branca Almeida 1973. "Ritual e poder : a visão revolucionária do teatro de Wole Soyinka." Doctoral thesis, 2008. http://sibul.reitoria.ul.pt/F/?func=item-global&doc_library=ULB01&type=03&doc_number=000533759.
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Tese de doutoramento em Estudos Artísticos (Estudos de Teatro), apresentada à Universidade de Lisboa através da Faculdade de Letras, 2008O estudo que a seguir se apresenta pretende olhar para o drama africano de expressão inglesa, em particular o teatro de Wole Soyinka: delimitar o seu perímetro, analisar formações estéticas e ideológicas, apontar as principais influências e destacar as grandes temáticas. A dramaturgia soyinkiana segue, basicamente, dois modelos: o satírico e o trágico. O primeiro usa uma linguagem crítica, denunciando o substrato corrupto da má-formação pós-colonial, bem como do seu antecedente colonial; o último serve como espaço discursivo onde a mudança política e social é representada como constituindo uma possibilidade em aberto. No entanto, no enquadramento geral da obra de Soyinka, ambos os modelos constituem estratégias para que o autor se envolva com o hegemónico, sendo que a sátira e a tragédia podem ser combinadas de modo a oferecerem um olhar penetrante sobre a trágica banalidade do poder pós-colonial. Este estudo foca ainda a persistente exploração, por parte de Soyinka, do potencial do mito e do ritual para chegar a um entendimento do comportamento da sociedade - africana e universal - contemporânea. O ritual faz parte intrínseca da consciência revolucionária e da visão dramática do autor aqui estudado, servindo, ainda, como enquadramento principal para uma técnica teatral que incorpora, simultaneamente, elementos tradicionais africanos e estratégicas artísticas da literatura e do teatro ocidentais. Ao longo de mais de quarenta anos de carreira, o padrão literário do dramaturgo tem-se deslocado, visivelmente, de uma inicial abstracção, fortemente marcada por um misticismo e simbolismo obscuro, para uma acessibilidade mais imediata e agressiva na representação social. É esse o trajecto que o leva da peça A Dance of the Forests (1960), de uma extrema complexidade simbólica e mítica, à mais mundana, mas não menos pungente, crítica social de King Baabu (2002).
This study is designed to cast a quick glance at the growing output of the anglophone African drama, particularly the theatre of Wole Soyinka, establish its perimeters, look at certain levels of aesthetic and ideological formations, determine some of the major influences at work and pinpoint its main themes. Soyinka primarily works within the modes of both satire and tragedy, employing the former principally as the language of critique, of revealing the corrupt underbelly of the post-colonial malformation as well as its colonial antecedent, and the latter as the discursive site where political and social change are enacted as possibility. However, in Soyinka's framework, these are merely strategies rather than irrevocably separate modalities of engaging with the hegemonic, for satire and tragedy can be profitably combined to offer the most piercing gaze at the tragic banality of post-colonial power. This study also focuses on Soyinka's persistent exploration of the potential of myth and ritual for understanding social behaviour in contemporary society african and universal. Ritual forms part of Soyinka's revolutionary consciousness and dramatic vision; furthermore it is used as a framework for a theatrical technique which incorporates elements of traditional African and Western theatrical modes. For more than forty years of literary activity Soyinka reveals a pattern of transition from an abstraction and obscure symbolism and mysticism to more immediate and aggressive accessibility; a gradual disregard of subtlety from the highly rarefied to the most elemental, direct and confrontational approach to social representation. From the almost impenetrably mystical, symbolic and mythical A Dance of the Forests (1960) to the more mundane King Baabu (2002) is discernible a progressive initiative from obtuse allegory and symbolism towards pungent and aggressive social criticism.
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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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Oloruntoba, Olatunde Albert. "Africanisation and the Yoruba cultural re-presentation : a critical analysis of selected plays by Wole Soyinka." 2015. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001788.
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M.Tech. Drama and Film Studies.The aim of this thesis is to explore the concept of Africanisation in the context of the Yoruba culture of the South West of Nigeria. It seeks to study the nature and form of life among the Yoruba people through the lens of selected plays by playwright and novelist Wole Soyinka, focusing on the motivations for the culture that is observed among the Yoruba speaking people. This study seeks to answer two major questions using the qualitative research method. These questions are: What cultural hallmarks and identities of the Yoruba people are represented in the selected plays of Wole Soyinka, which are Death and the Kings Horseman, The Strong Breed and The Lion and the Jewel and how are these represented? And, what is Africanisation and how has Africa responded to it? In order to achieve the above aims, the thesis is written in two parts. The first part focuses on Africanisation and African Renaissance, while the second part focuses on the analysis of the culture of the Yoruba people as presented by Wole Soyinka in the selected plays. As a philosophy, Africanisation entails, but is not limited to, the art of producing and appraising a knowledge system based on African cultures for the benefit of Africa and the world at large. According to Makhanya, Africanisation is acknowledging and introducing knowledge systems that are rooted in and relevant to Africa next to other knowledge systems in the quest to discover, explain and produce knowledge (cited in Ratshikuni, 2010:1). The selected plays analysed are culturally rich Yoruba plays. Some of the ethos of the Yoruba people, including communal life, music and drumming, naming, sacrifice, and death, among others, as represented by the playwright are expounded upon and documented. vi The methodology employed to obtain data for this study is the qualitative research method. This entails content analysis of the plays with a view to studying the cultural content in the plays. In conclusion, the thesis argues that Yoruba culture has sufficient value that can be of great benefit to the unity and progress of Africa and the world at large. But first, Africa and Africans must embrace their cultural values, expose them to the world and allow some culture of the world to blend with it so as to create a greater, meaningful and global impact.
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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 universallyEnglish Studies
M.A. (English)
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Karimi, Golnar. "Linguistic imperialism : a study of language and yoruba rituals in Wole Soyinka’s Death and the king’s horseman." Thèse, 2015. http://hdl.handle.net/1866/13481.
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L’objectif de ce mémoire est de démontrer le rôle important de la langue dans la pièce de théâtre
Death and the King’s Horseman par l’auteur nigérian Wole Soyinka. Le premier chapitre traite
les implications de l'écriture d'un texte postcolonial dans la langue anglaise et revisite les débats
linguistiques des années 1950 et 1960. En plus de l'anglais, ce mémoire observe l'utilisation
d'autres formes de communication telles que l'anglais, le pidgin nigérian, les dialectes locaux et
les métaphores Yoruba. Par conséquent, l'intersection entre la langue et la culture devient
évidente à travers la description des rituels. La dernière partie de ce mémoire explore l'objectif
principal de Soyinka de créer une «essence thrénodique». Avec l'utilisation de masques rituels,
de la danse et de la musique, il développe un type de dialogue qui dépasse les limites de la
forme écrite et est accessible seulement à ceux qui sont équipés de sensibilités culturelles
Yoruba.The aim of this thesis is to demonstrate the significant role of language in the development of the play Death and King’s Horseman by Nigerian author Wole Soyinka. The first chapter discusses the implications of writing a postcolonial text in the English language and revisits the language debates of the 1950s and 1960s. In addition to English, the thesis observes the use of other forms of communication such as Nigerian Pidgin English, local dialects, and Yoruba metaphors. Consequently, the intersection between language and culture becomes apparent through the description of the rituals. The final section of the thesis explores Soyinka’s primary focus of creating a “threnodic essence.” With the use of ritual masks, dance and music, he develops a type of dialogue that transcends the written form and is accessible only to those who are equipped with Yoruba cultural sensibilities.
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Wu, Chia Ling, and 吳嘉玲. "Tradition, change, and impasse: inevitability of social transformation in Wole Soyinka's Death and the King's Horseman." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/67030268898901028880.
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碩士國立政治大學
英國語文學研究所
97
This thesis studies Wole Soyinka's Death and the King's Horseman and its concerns for the Yoruba people's desperate but futile resistance to Westernization. Adapted from a real historical event, this play reenacts the disturbance in the Oyo city of Nigeria in 1945, when the ritual of the Horseman's suicide was interrupted by the British colonial force. While the play explains the importance of the ritual in the Yoruba society, it reveals the Horseman's reluctance to end his life and asserts that cruel tradition like human immolation must be reformed especially at the fluctuating moment caused by the British colonization.
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Hungbo, Jendele. "The African intellectual and the making of selfhood in Wole Soyinka's You must set forth at dawn." Thesis, 2009. http://hdl.handle.net/10539/6293.
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ABSTRACT
In recent times, the autobiography is fast becoming a form of literary expression through
which writers address various issues concerning their identity as well as socio-political
realities in society. For African intellectuals, the urgency of the post-independence
realities confronting different countries on the continent makes it imperative for them to
deploy their life narratives beyond the traditional ends which autobiographical works are
generally expected to address. It is in light of this that this study probes into Wole
Soyinka’s making of selfhood in his recent autobiographical work You Must Set Forth at
Dawn (2006). While trying to investigate how the writer creates a new identity for
himself through his life narrative, the study argues that the prevailing circumstances
around the individual intellectual in the postcolonial environment should be seen as major
determining factors in the representation of the life of the public intellectual in Africa. It
identifies the pains of colonialism, the failure of post-independence leadership as well as
the lack of promise in contemporary administrations in most African states as
exemplified by Nigeria in Soyinka’s narrative as the key factors mediating the
composition of life narratives by public intellectuals in Africa.
In this research report, Soyinka’s approach to history, memory, exile and nationalism are
closely examined towards a better appreciation of his personality as well as his stance on
various issues which continue to crop up in view of the dislocations which have
constituted hindrances to the progress of Nigeria. The thesis also examines how Soyinka
produces individual and communal agency as an African intellectual whose activism
often translates to commitment in his literary works. The work draws the conclusion that
the composition of the lives of individuals, and by extension public intellectuals
especially in Africa, is often a product of both internal and external factors which
combine to determine the personality of the subjects of life narratives.