Relevant bibliographies by topics / Yoruba drama – History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Yoruba drama – History and criticism'

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

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Journal articles on the topic "Yoruba drama – History and criticism"

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Ogunleye, Foluke. "A Male-Centric Modification of History; Efunsetan Aniwura Revisited." History in Africa 31 (2004): 303–18. http://dx.doi.org/10.1017/s0361541300003508.

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Historical drama can be described as a form of drama which purports to reflect or represent historical proceedings. Since time immemorial writers have combined fiction and history in creative works. Lawrence Langner has ascribed the popularity of historical drama to the desire of the theatergoer to spend an evening in the company of kings, queens, and other historical personages; the opportunity to become familiar with far greater events than those which take place in the lives of ordinary people; and that historical plays recreate great deeds done by great personages in the past. Historical facts are then creatively adapted and made available in play form to the audience. Adaptation has been defined as “the rewriting of a work from its original form to fit it for another medium … The term implies an attempt to retain the characters, actions, and as much as possible of the language and tone of the original…” The history play is also defined as “any drama whose time setting is in some period earlier than that in which it was written. We can also go further to describe the history play as one “that reconstructs a personage, a series of events, a movement, or the spirit of a past age and pays the debt of serious scholarship to the facts of the age being recreated.Judging from the foregoing, Akinwunmi Isola's play, Efunsetan Aniwura falls into the category of historical drama, treating as it does the story of the eponymous heroine who was the second Iyalode (queen of women) of Ibadan and who died on 30 June 1874. Prominent themes in Yoruba historical plays include war, conflict, and class struggle. Olu Obafemi has declared that the dramatization of the history, myth, and legends of the Yoruba community forms the bulk of the themes of Yoruba drama. These factors are vividly portrayed in Akinwunmi Isola's plays. Akinwunmi Isola is one of the most prolific playwrights who use their mother tongue to write plays in Nigeria. He is a Professor of Yoruba language and he uses the Yoruba language in writing his plays despite the fact that he is proficient in English and French languages.
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McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.
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Cohen, Stephen, and Lawrence J. Ross. "On Measure for Measure: An Essay in Criticism of Shakespeare's Drama." Sixteenth Century Journal 29, no. 2 (1998): 510. http://dx.doi.org/10.2307/2544531.

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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.

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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (January 1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.

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Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet, for example, are turned inside out when critical attention is focused on the “materiality” of madness and its forms. This privileging of “external appearance” and “corporeality” over the imagined inner life of character is licensed by Salkeld's thesis that personal crises in the dramatic lives of Shakespeare's tragic heroes and heroines must invariably be read qua political crisis. The author writes that any “discussion of the internal life of a character then becomes a second order issue, and considerably more problematic when the historical specificity of these conditions is addressed” (p. 2).
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Sales, Roger. "Review: Shakespeare Recycled: The Making of Historical Drama, the Matter of Difference: Materialist Feminist Criticism of Shakespeare." Literature & History 3, no. 1 (March 1994): 106–9. http://dx.doi.org/10.1177/030619739400300115.

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Hollinger, David A. "The Accommodation of Protestant Christianity with the Enlightenment: An Old Drama Still Being Enacted." Daedalus 141, no. 1 (January 2012): 76–88. http://dx.doi.org/10.1162/daed_a_00130.

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Throughout its history, the United States has been a major site for the accommodation of Protestant Christianity with the Enlightenment. This accommodation has been driven by two closely related but distinct processes: the demystification of religion's cognitive claims by scientific advances, exemplified by the Higher Criticism in Biblical scholarship and the Darwinian revolution in natural history; and the demographic diversification of society, placing Protestants in the increasingly intimate company of Americans who did not share a Protestant past and thus inspiring doubts about the validity of inherited ideas and practices for the entire human species. The accommodation of Protestant Christianity with the Enlightenment will continue to hold a place among American narratives as long as “diversity” and “science” remain respected values, and as long as the population includes a substantial number of Protestants. If you think that time has passed, look around you.
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Dissertations / Theses on the topic "Yoruba drama – History and criticism"

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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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Streete, Adrian George Thomas. "Calvinism, subjectivity and early modern drama." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.

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This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.
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D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.

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齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.

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O'Regan, Inge Brigitta. ""Zuwachs unsrer existenz" : the quest for Being in J.M.R. Lenz." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31078.

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Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies. Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama. However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify. Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781. This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard. The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Ramukosi, Patrick Mbulaheni. "Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays." Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.

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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.

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Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.

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Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.
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Books on the topic "Yoruba drama – History and criticism"

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Alston, J. B. Yoruba drama in English: Interpretation and production. Lewiston, NY: E. Mellen Press, 1989.

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Olufemi, Adewọle Lawrence, ed. Ìṣẹ̀fẹ̀ nínú àwo̥n eré-onítàn Yorùbá. Cape Town: Centre for Advanced Studies of African Society, 2001.

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Ìbítókun, Benedict M. African drama and the Yorùbá world-view. Ibadan, Nigeria: Ibadan University Press, 1995.

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Ọdún: Discourses, strategies, and power in the Yorùbá play of transformation. Amsterdam: Rodopi, 2009.

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Wole, Soyinka. Death and the king's horseman: Authoritative text : backgrounds and contexts, criticism. New York: Norton, 2003.

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Sola, Olorunyomi, and Duro-Ladipo Abiodun, eds. Duro Ladipo: Thunder-god on stage. 2nd ed. Ibadan: IAS (Institute of African Studies), University of Ibadan & IFAnet Editions, 2008.

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Raji, Remi. Duro Ladipo: Thunder-god on stage. 2nd ed. Ibadan: IAS (Institute of African Studies), University of Ibadan & IFAnet Editions, 2008.

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Adedeji, Joel Adeyinka. Nigerian theatre: Dynamics of a movement. Ibadan, Nigeria: Caltop Publications, 1998.

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PhD, David B. Welch. Voice of thunder, eyes of fire: In search of Shango in the African diaspora. Pittsburgh, Pa: Dorrance, 2001.

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Yorùbá performance, theatre and politics. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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Book chapters on the topic "Yoruba drama – History and criticism"

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Osborne, John. "Theories of drama." In The Cambridge History of Literary Criticism, 539–62. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cho9781139018456.036.

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Novak, Maximillian E. "Drama, 1660-1740." In The Cambridge History of Literary Criticism, 167–83. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.006.

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Osborne, John. "Drama, after 1740." In The Cambridge History of Literary Criticism, 184–209. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.007.

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Wimsatt, William K., and Cleanth Brooks. "Fiction and Drama: The Gross Structure." In Literary Criticism: A Short History, 681–98. Routledge, 2021. http://dx.doi.org/10.4324/9781003141013-7.

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Brazil, Kevin, David Sergeant, and Tom Sperlinger. "Introduction." In Doris Lessing and the Forming of History. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414432.003.0001.

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‘It’s a question of form’ (1993: 418). So declares frustrated writer Anna Wulf, in what remains Lessing’s most celebrated novel, The Golden Notebook. As this volume shows, the attempt to find forms which might record, model and engage historical change and all that it entails is one that persists throughout the six decades spanned by Lessing’s writing. The chapters that follow attend to the full weight of Anna’s statement: when Lessing’s writing turns towards history it is not simply a question of finding the literary form that might best represent it; rather it involves questioning the very relationship between form and history, as they are brought together afresh in each new work. These questions might be common to literary criticism, but the chronological breadth of Lessing’s career, and its sheer variety and productivity, makes them both particularly pressing and particularly enlightening in her work. As she moves from colonial Rhodesia to post-war Britain, and from war-torn Afghanistan to our posthuman future, her work employs the full panoply of techniques, modes, genres and effects that we refer to as forms: short stories, realism, serial fiction, documentary, drama, jokes, Sufi tales, reportage – and more....
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Brodrecht, Grant R. "1864." In Our Country, 43–66. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279906.003.0003.

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The second chapter looks at northern evangelicals in relation to the election of 1864. Although the war’s evolving aim, which now included emancipation, reflected northern white evangelicals’ misgivings regarding slavery, during 1864 many nevertheless downplayed slavery-related issues. The year began with high hopes surrounding Ulysses S. Grant’s promotion to lead all Union forces, but by late summer his Virginia campaign had stalled and precipitated much anxiety in the North. In the face of Democratic opposition and abolitionist criticism,mainstream evangelicals cast 1864 as the dénouement of the war, if not the nation’s entire history. The enhanced drama benefitted Lincoln, for the more desperate things appeared, the more desperately mainstream evangelicals supported him. Contrary to the desires of evangelical abolitionists, most northern evangelicals saw the election of 1864 as fundamentally about saving the Union.
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Malcolm, William K. "Legacy." In Lewis Grassic Gibbon, 127–40. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.003.0008.

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The final chapter reviews the development of Mitchell’s literary legacy following his death up to the present. Translations of his best work to different genres, including radio, drama and film dramatisations, have had variable success while generically reflecting the growing popular esteem with which the Gibbon fiction is held. Critical appreciation has found a prominent place for A Scots Quair within the history of campaigning working-class writing and within the Scottish tradition in literature. Gibbon’s achievement with narrative focalisation and stream of consciousness combined with the epic grandeur of the trilogy working through Scottish subject matter to address vibrant universal themes has secured his place within the growing body of global criticism as one of the pre-eminent modernist novelists of the twentieth century. While his reputation within the British literary canon has been deemed to have suffered from his subliminal association with a marginalised culture, however, the author’s profound humanitarian principles manifested in his championing of the rights of the individual, irrespective of class, gender, religion and race, together with his prowess as a supreme proponent of ecofiction have a timeless appeal.
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