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Journal articles on the topic 'Soyinka, Wole'

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Published: 4 June 2021

Last updated: 10 February 2022

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1

Vermeulen, Julien. "Wole Soyinka. Het Profiel van een Nobelprijswinnaar." Afrika Focus 3, no. 1-2 (January 12, 1987): 123–46. http://dx.doi.org/10.1163/2031356x-0030102007.

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It is always difficult to define exactly why a particular author has been awarded the Nobel Prize for Literature. This approach will deal with four different aspects which may have contributed to Wole Soyinka’s award. It cannot be denied that Soyinka is the author of an extensive and richly varied work, which has been appreciated by critics the world over. Especially the satirical qualities of his style have been praised on many occasions. But we have to focus our attention on two other important aspects. We can only achieve a full understanding of Soyinka's dramas when we interpret them against the background of Yoruba drama and Yoruba cultural tradition. And we can only appreciate Soyinka's work if we pay attention to the social context in which it is situated. This political commitment, as well as the international reputation Soyinka has helped to create as a director and an actor, are essential elements that have contributed to this Nobel Prize award.

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2

Quayson, Ato. "Wole Soyinka (review)." Research in African Literatures 36, no. 2 (2005): 139–41. http://dx.doi.org/10.1353/ral.2005.0132.

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3

Smith, Robert P., and Derek Wright. "Wole Soyinka Revisited." World Literature Today 67, no. 4 (1993): 879. http://dx.doi.org/10.2307/40149777.

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4

Schmidt, Nancy J., and Derek Wright. "Wole Soyinka Revisited." International Journal of African Historical Studies 27, no. 1 (1994): 216. http://dx.doi.org/10.2307/221012.

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5

Gibbs, James. "Biography Into Autobiography: Wole Soyinka and the Relatives Who Inhabit ‘Ake’." Journal of Modern African Studies 26, no. 3 (September 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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6

Ojaide, Tanure, and Biodun Jeyifo. "Conversations with Wole Soyinka." World Literature Today 76, no. 1 (2002): 117. http://dx.doi.org/10.2307/40157033.

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7

Ojaide, Tanure, and Adewale Maja-Pearce. "Wole Soyinka: An Appraisal." World Literature Today 69, no. 2 (1995): 420. http://dx.doi.org/10.2307/40151329.

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8

Gibbs, James, Biodun Jeyifo, and Wole Soyinka. "Conversations with Wole Soyinka." South Atlantic Review 67, no. 1 (2002): 155. http://dx.doi.org/10.2307/3201598.

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9

Kiguli, Susan Nalugwa. "Wole Soyinka: an introduction." Journal of Contemporary African Studies 38, no. 2 (April 2, 2020): 171–72. http://dx.doi.org/10.1080/02589001.2020.1794295.

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10

Eke, C. U. "A Linguistic Appraisal of Playwright - Audience Relationship in Wole Soyinska's The Trials of Brother Jero." Babel. Revue internationale de la traduction / International Journal of Translation 42, no. 4 (January 1, 1996): 222–30. http://dx.doi.org/10.1075/babel.42.4.04eke.

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Abstract The paper seeks to ascertain through the linguistic approach whether Wole Soyinka's The Trials of Brother Jero is actually, as propagated in some quarters, a focus on the problem of communication. Analysis is carried out on the lexico-semantic and morpho-syntactic features of the text, and in the process other linguistic flourishes typical of Soyinka are highlighted. These include especially features of graphetic and graphological importance. The study shows that Soyinka is a playwright with a penchant for linguistic communication. His dramatic raison d'être is to reach his Nigerian audience as stylistically as possible. Résumé Le but de cette recherche est l'étude linguistique de la pièce The Trials of Brother Jero de Wole Soyinka, et plus spécifiquement la vérification du constat chez certains critiques littéraires que cette pièce est liée en particulier au problème de la communication. Nous avons procédé à une analyse basée sur les aspects lexico-sémantiques et morphosyntaxiques du texte, et chemin faisant, nous avons découvert d'autres aspects stylistiques propres à Soyinka. Il s'agit surtout de caractéristiques d'importance graphique et graphologique. L'étude prouve que c'est à son penchant pour la communication langagière que Soyinka doit sa célébrité en tant que dramaturge. Son art dramatique n'a d'autre raison d'être que de créer d'une manière pragmatique une entente psychologique avec son public nigérien.

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11

Appiah, Anthony. "An Evening with Wole Soyinka." Black American Literature Forum 22, no. 4 (1988): 777. http://dx.doi.org/10.2307/2904052.

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12

Irobi, Esiaba. "Special Issue on Wole Soyinka." Philosophia Africana 11, no. 1 (2008): 1–4. http://dx.doi.org/10.5840/philafricana20081118.

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13

Irele, F. Abiola. "The Achievement of Wole Soyinka." Philosophia Africana 11, no. 1 (2008): 5–19. http://dx.doi.org/10.5840/philafricana20081119.

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14

Dasenbrock, Reed Way, Wole Soyinka, and Eldred Durosimi Jones. "The Writing of Wole Soyinka." World Literature Today 62, no. 3 (1988): 502. http://dx.doi.org/10.2307/40144462.

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15

Sabor, Peter. "Wole Soyinka and the scriblerians." World Literature Written in English 29, no. 1 (March 1989): 43–52. http://dx.doi.org/10.1080/17449858908589081.

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16

SUBERU, ROTIMI T. "The Politics of Wole Soyinka." African Affairs 94, no. 376 (July 1995): 424–25. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098843.

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17

Dunton, Chris. "Wole Soyinka: Novelist, playwright, poet." New Community 13, no. 2 (September 1986): 257–60. http://dx.doi.org/10.1080/1369183x.1986.9975974.

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18

Lloyd, Robert B. "Of Africa. By Wole Soyinka." Journal of the Middle East and Africa 4, no. 1 (January 2013): 109–13. http://dx.doi.org/10.1080/21520844.2013.773414.

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19

Maja-Pearce, Adewale. "Who's Afraid of Wole Soyinka?" Index on Censorship 17, no. 7 (August 1988): 10–17. http://dx.doi.org/10.1080/03064228808534484.

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20

Dunmande, Olufemi Ibukun. "Ritual form and mythologization of death in Wole Soyinka’s ‘Procession’." Tydskrif vir Letterkunde 54, no. 1 (March 24, 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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21

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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22

Olusegun, Elijah Adeoluwa. "The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà." European Journal of Humour Research 6, no. 4 (December 30, 2018): 118. http://dx.doi.org/10.7592/ejhr2018.6.4.olusegun.

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This article explores the deployment of humour in Wole Soyinka’s new and full-length play Alápatà Apátà. The emergence of Moses Olaiya (otherwise known as Baba Sala) on the Nigerian theatre scene at a time it was dominated by such colossuses as Hubert Ogunde, Duro Ladipo, and Kola Ogunmola, as a popular jester and comic actor has elevated the phenomenon called áwàdà to a popular form of art. The idea of serious theatre involving mostly tragedy had dominated the Nigerian theatrical scene to an extent that little attention is devoted to the less popular form of comedy until it was given impetus by the dexterity of Moses Olaiya. In the dramatic literary circle, Wole Soyinka bestrides the Nigerian space with his biting and humorous satire in such plays as The Lion and the Jewel, The Jero Plays, Childe International amongst others. With a great mastery of satire and humour, in his most recent play Alápatà Apátà, we witnessed a reincarnation of Moses Olaiya. However, Soyinka does not focus only on the character of Moses Olaiya (whom he dedicates the play to), he explores the misapplication of Yoruba language’s accent resulting in semantic oddity. The incongruity that can arise from the misunderstanding of language and its nuances is brought to the fore in our understanding of the theoretical exploration of the phenomenon called áwàdà. This article thus situates Wole Soyinka’s Alápatà Apátà within the literary and theatrical explication of humour in the Nigerian context showing that ‘that which is comic’ resonates as a universal human phenomenon irrespective of language.

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23

Stratton, Florence. "Wole Soyinka: A Writer's Social Vision." Black American Literature Forum 22, no. 3 (1988): 531. http://dx.doi.org/10.2307/2904314.

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24

Feuser, Willfried F. "Wole Soyinka: The Problem of Authenticity." Black American Literature Forum 22, no. 3 (1988): 555. http://dx.doi.org/10.2307/2904315.

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25

Jeyifo, Biodun. "Oguntoyinbo: Wole Soyinka and Igilango Geesi." Philosophia Africana 11, no. 1 (2008): 21–36. http://dx.doi.org/10.5840/philafricana200811110.

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26

Gover, Daniel. "Wole Soyinka: Dance Master of Appetite." Journal of the African Literature Association 7, no. 1 (January 2012): 25–34. http://dx.doi.org/10.1080/21674736.2012.11690197.

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27

David, Mary. "Wole Soyinka Talks to Mary David." Wasafiri 9, no. 18 (September 1993): 22–27. http://dx.doi.org/10.1080/02690059308574324.

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28

OKOME, ONOOKOME. "The Social Crusade of Wole Soyinka." Matatu 23-24, no. 1 (April 26, 2001): 55–64. http://dx.doi.org/10.1163/18757421-90000354.

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29

Ogede, Ode. "The Poetry of Wole Soyinka (review)." Research in African Literatures 33, no. 3 (2002): 228–31. http://dx.doi.org/10.1353/ral.2002.0083.

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30

Ojewuyi, O. "WOLE SOYINKA: THE HUNTER, THE HUNT." Theater 28, no. 1 (September 1, 1997): 58–59. http://dx.doi.org/10.1215/01610775-28-1-58.

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31

Irobi, Esiaba. "Wole Soyinka: Politics, Poetics, Postcolonialism (review)." Theatre Journal 58, no. 1 (2006): 149–50. http://dx.doi.org/10.1353/tj.2006.0076.

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32

Ugochukwu, Françoise. "Essays in Honour of Wole Soyinka at 80, Ivor Agyeman-Duah (Ed.) - book review." Issue 1 1, no. 1 (June 12, 2018): 107–8. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a7.

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Wole Soyinka, best known as a Nigerian writer, playwright and Nobel laureate, has been a staunch supporter of the Nigerian cinema, and one of his plays, Death and the King’s horseman, is currently in the process of being adapted to the screen. He embodies the link between the Nigerian society, Yoruba culture and Nollywood. This book of essays in honour of Wole Soyinka’s life and works, offered to him on his 80th birthday, brings together a good number of contributions - short paragraphs, long essays, formal interviews, impromptu conversations and poems. The authors of these texts include a former general Commonwealth secretary, university dons from various fields, internationally acclaimed writers such as Ngugi, Aidoo or Mazrui, diplomats and politicians, journalists, students and personal friends.

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33

Osakwe, Mabel. "Ogun Abibiman: A Creative Translation of Yoruba Verse." Meta 43, no. 3 (October 2, 2002): 467–71. http://dx.doi.org/10.7202/003768ar.

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34

Olaniyan, Tejumola. "Dramatizing Postcoloniality: Wole Soyinka and Derek Walcott." Theatre Journal 44, no. 4 (December 1992): 485. http://dx.doi.org/10.2307/3208770.

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35

Ojaide, Tanure. "Wole Soyinka: A Quest for Renewal (review)." Research in African Literatures 31, no. 1 (2000): 179–80. http://dx.doi.org/10.1353/ral.2000.0028.

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36

Bauerle, Richard F., and Obi Maduakor. "Wole Soyinka: An Introduction to His Writing." World Literature Today 62, no. 2 (1988): 324. http://dx.doi.org/10.2307/40143741.

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37

Quayson, Ato. "Wole Soyinka and Autobiography as Political Unconscious*." Journal of Commonwealth Literature 31, no. 2 (June 1996): 19–32. http://dx.doi.org/10.1177/002198949603100203.

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38

Rohmer, Martin. "Wole Soyinka's ‘Death and the King's Horseman’, Royal Exchange Theatre, Manchester." New Theatre Quarterly 10, no. 37 (February 1994): 57–69. http://dx.doi.org/10.1017/s0266464x00000099.

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In large part due to the relative lack of productions in Europe, the plays of Wole Soyinka have mostly been approached from a literary point of view rather than analyzed as theatrical events. Because the plays rely heavily on non-verbal conventions, this neglect of visual and acoustic patterns promotes an incomplete understanding of Soyinka's idea of theatre. Here, for the first time, a play by Soyinka is analyzed from the point of view of performance – specifically, the production of Death and the King's Horseman staged at the Royal Exchange Theatre, Manchester, in 1990. Martin Rohmer examines the transformation of playscript into mise-en-scène, focusing in particular on the use of music and dance, but looking also at the production as an intercultural event – asking not only how far a European company has to rely on African performing skills, but how far a European cast and audience is capable of a proper understanding of the play. This article is a revised version of a lecture delivered at the Conference of the Association for the Study of the New Literatures in English, held in Bayreuth in June 1992. Martin Rohmer studied Drama, German Literature, Anthropology, and Philosophy in Munich, and Theatre, Film and TV Studies at the University of Glasgow, before completing his MA in Munich in 1992. Presently he is a Research Assistant at the University of Bayreuth, where he is working on a PhD on the performing arts in Zimbabwe.

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39

Maledo, Richard Oliseyenum, and Emmanuel Ogheneakpobor Emama. "Wole Soyinka’s The Road as an intertext." Tydskrif vir Letterkunde 57, no. 2 (July 22, 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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40

Granqvist, Raoul. "Wole Soyinka, Nobel Prize Winner: Sweden Acknowledges Africa." Black American Literature Forum 22, no. 3 (1988): 467. http://dx.doi.org/10.2307/2904310.

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41

Fioupou, Christiane. "Interview of Wole Soyinka in Paris, February 1995." Présence Africaine 154, no. 2 (1996): 87. http://dx.doi.org/10.3917/presa.154.0087.

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42

Ojaide, Tanure, and Adewale Maja-Pearce. "Who's Afraid of Wole Soyinka? Essays on Censorship." World Literature Today 66, no. 3 (1992): 568. http://dx.doi.org/10.2307/40148556.

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43

Maja‐Pearce, Adewale. "Punching holes inside people: Words of Wole Soyinka." Third World Quarterly 9, no. 3 (July 1987): 986–92. http://dx.doi.org/10.1080/01436598708420010.

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44

Crow, Brian. "Soyinka and his Radical Critics: A Review." Theatre Research International 12, no. 1 (1987): 61–73. http://dx.doi.org/10.1017/s0307883300013304.

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The volume of critical writing on the theatre of Wole Soyinka both in Nigeria and abroad indicates his unrivalled pre-eminence among African play wrights. His work is still not as well known in the West as it should be, though his plays do occasionally get performed, especially in the USA, and it is encouraging that six of them have recently been published in one volume in the Methuen ‘Master Playwrights’ series. If cultural chauvinism is at least partly to blame for ignorance of the Third World's leading dramatist, there is also a genuine problem of access to a writer whose work is ‘difficult’ even for the educated élite among his own people. Indeed, some younger Nigerian critics have persistently accused Soyinka of obscurantism and of being too much immersed in private myth-making, an arcane metaphysics, at the expense of communicating with a popular audience about issues which directly concern it. A heated and sometimes acrimonious debate has arisen in the last few years around Soyinka's theater, in which the dramatist himself has participated both as critic and artist. Since the controversy, like the drama, is not well-known, and some of its key texts are not easily available, my purpose here is to summarize its main features, the implications of which go well beyond the work of a particular writer, however important. In conclusion, I shall briefly review Soyinka's more recent work and its bearing on the critical debate.

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45

MOSOBALAJE, ADEBAYO. "The Transition from a Mythopoeic to a Populist Aesthetic in Selected Political Plays of Wole Soyinka." Matatu 47, no. 1 (August 22, 2016): 71–95. http://dx.doi.org/10.1163/18757421-90000396.

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The study examines the movement of Wole Soyinka from mythopoeic dramatic strategies to a realistic populist aesthetic in selected political plays. It also examines the cause(s) of the movement, analyses the formal pattern engendered by it, and discusses the portrayal of the military in governance in the political plays, with a view to establishing the impact of the metamorphosis on the revolutionary tenor of the plays. Three of Soyinka’s political plays are selected for analysis. The first, A Dance of the Forests, represents Soyinka’s experimentation with the mythic imagination among the pre-Civil War works from the 1960s to the early 1970s; the second, Madmen and Specialists, a Civil-War play, constitutes the watershed and middle ground in the dramaturgic metamorphosis of the playwright; and the third, Opera Wọ́nyọ̀sí, a post-Civil-War political satire, begins the history-informed plays of the mid-1970s and onwards. Using a close-reading technique, the essay argues that the personal involvement of Soyinka in the Nigerian Civil War of 1967–70, coupled with the effects of the war, his consequent incarceration, and the demands made on him by Marxist critics to employ a populist aesthetic, led the playwright to the realization that the political comprador did not heed the warnings in the mythinfused political plays of the early phase of his career, most probably because of the relative inaccessibility of their hieratic idiom. There arose a strong need to communicate in simple, accessible language addressing contemporary history. This dramaturgic movement has a positive impact on the revolutionary tenor of the plays.

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46

Peter, Aringo-Bizimaana. "“What African Literature is in the Complexity of The Interpreters (Wole Soyinka)? Is there any way our Biased Ugandan Readership could be Re-educated to Like its Style and Appreciate its Message?”." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 165. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.165.

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This article re-examines views of some literary critics who find Soyinka’s style intolerably complex and those who disagree with this extremist view. The article further examines reasons given by each group. An attempt is then made to summarize the reasons given for the complexity of The Interpreters by getting into the text to reappraise the major styles Soyinka employs. Behind all this is an attempt to demonstrate that Soyinka is very much a committed artist giving a scathing comment on the corruption and bankruptcy of the so-called leaders (interpreters) of a newly independent Nigeria (Africa). Finally, as a rebuttal to increasing anti-Soyinka critics within our local/Ugandan society, some of whom mere singers of prejudices, the article attempts an ‘educating crusade’: challenging practicing teachers/lecturers first, and then extending this to our Language Education Curriculum in Teacher Training Colleges and Universities to re-examine the way we prepare our teachers of English and Literature for the critical task ahead during their execution of professional obligations. This is how the article looks at The Interpreters as a very important pointer to something that has gone wrong with our pedagogical and methodological practices. It is not Soyinka alone under attack when we label him too complex to deserve our attention but many other authors constantly being pooled into the ‘hole of poor or no readership’ in this country.

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47

Oduor, Vincent Odhiambo. "Artistry and Post-Colonial Issues in Wole Soyinka’s The Interpreters." Editon Consortium Journal of Literature and Linguistic Studies 2, no. 1 (May 31, 2020): 130–42. http://dx.doi.org/10.51317/ecjlls.v2i1.123.

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This paper sets out to examine how Wole Soyinka uses art in his first novel, The Interpreters to reflect the post-colonial issues that affect individuals in the newly independent state of Nigeria. It begins by illuminating Wole Soyinka as a unique artist who experiments with all genres of literature. The paper then discusses Artistry in The Interpreters but limiting the study to plot, characterisation and his style of narration. This paper draws interest in the society as portrayed in the text. We see a society which is experiencing a gradual drifting from the traditional ways of life to the modern, though in a confused manner because their world view of the contemporary world is suppressed by the systems put by the post-colonial government. The interpreters are an epitome of the broader community, which is experiencing changes in their country. The paper brings out an argument that with the creation of post-colonial society come different personalities with different responses to the situation.

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48

Akinwole, Tolulope. "Embodied Masculine Sovereignty, Reimagined Femininity: Implications of a Soyinkaesque Reading of Ryan Coogler’s Black Panther." Cambridge Journal of Postcolonial Literary Inquiry 7, no. 2 (April 2020): 147–57. http://dx.doi.org/10.1017/pli.2019.39.

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In more ways than critics have mentioned, Ryan Coogler’s critically acclaimed Black Panther (2018) holds a vibrant conversation with Wole Soyinka’s mythopoetic orientation. But apart from Ryan Coogler’s ventriloquist reference to “The Fourth Stage,” Black Panther confers with Soyinka in many other interesting ways. In this article, I explore the mythic patterns in the movie by reading it alongside Soyinka’s densely mythic essay, “The Fourth Stage,” in order to pry the movie open for analysis. I posit that reading Ryan Coogler’s Black Panther side-by-side Soyinka’s “The Fourth Stage” amplifies the dialogic tension between violence and justice in both works, on the one hand, and exposes the strategies by which female subjectivity is reimagined in Black Panther’s radical universe, on the other hand. I also note that, in particular, Black Panther emerges from the comparative reading as somewhat inadvertently attempting a redefinition of tragedy.

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Afrougheh, Shahram, and Atefeh Lieaghat. "The Adaption of Grice’s Maxims in Wole Soyinka’s Discourse in The Strong Breed." Khazar Journal of Humanities and Social Sciences 20, no. 4 (December 2017): 47–55. http://dx.doi.org/10.5782/2223-2621.2017.20.4.47.

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This study tries to find the adoption of Grice’s Maxims in Soyinka's discourse in The Strong Breed (1962). In addition to, it seeks to find in which mutual conversations of all parts of drama the writer obeys Grice’s principles. Soyinka in this drama depicts how ritual and superstitious beliefs cover the social life.In Yoruba the village where the events occur; the villagers believe that before each New Year one strong and strange person should sacrify to purify the society for arriving in New Year.This idea conveys among the characters by reciprocal conversation. Since this play focuses on the real social issue,this paper attempts to concentrate on the conversations in order to find in which dialogues the writer adapted discourses of his characters by Grice’s Maxims (Quality, Quantity, Relation, Manner). Regarding theses principles,centre on discourses's principles this research tries to find the characteristics of these Maxims. As a matter of fact, Maxim of Quantity centres on an equal amount of words which convey the idea in aproper way. In Maxim of Quality Grice concentrates on thetruth that the dialoguess hould be taken correctly and truly.To Grice another principle is Maxim of Relation with regard to the relationship between the subject and content. Besides, Maxim of Manner converges on four avoidances; to mention a few, obscurity, ambiguity, briefly and orderly. With reference to these principles this research attempts to apply these Maxims on The Strong Breed in order to find adoption of reciprocal conversations by Soyinka. Regarding it tries to look for the dialogues which obey Grice’s Maxims.

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Wright, Derek. "The Festive Year: Wole Soyinka's Annus Mirabilis." Journal of Modern African Studies 28, no. 3 (September 1990): 511–19. http://dx.doi.org/10.1017/s0022278x00054677.

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It was in 1960, the year of independence and therefore a time of celebration and festivities in Nigeria, that Wole Soyinka, after just over five years in Britain (three at the University of Leeds and two at the Royal Court Theatre, London), returned to his native land. This was moreover, according to some sources, a period in which he undertook empirical research into festivities of a different kind, which subsequently supplied a specific input into the ritualism of his early plays.

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