Relevant bibliographies by topics / Yoruba Goddesses

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  2. Dissertations / Theses
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Academic literature on the topic 'Yoruba Goddesses'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Yoruba Goddesses"

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Witte, Hans. "La Quête Du Sens Dans Le Symbolisme Yoruba: Le Cas D'Erinle." Numen 38, no. 1 (1991): 59–79. http://dx.doi.org/10.1163/156852791x00042.

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AbstractThe article shows that in Yoruba mythology Erinle is a male hunter who is named after (or associated with) an elephant and who-for diverse reasons-is finally transformed into a water-spirit. In his cult Erinle is mainly venerated as a river-god who, like the river goddesses Qsun and Yemoya, blesses his followers with children. In the iconography of his cult, however, the material symbols of a Yoruba water-spirit (terra-cotta pots with water and pebbles from the river: fans) are mixed with those that refer to the hunter and the symbol-complex of the god of iron and of the wilderness (iron chains; fly whisks; wrought iron staffs topped by birds). Outside his cult Erinle is sometimes symbolized by the image of an elephant with reference to his name. In the cult of his close friend Sango, the Oyo god of thunder, Erinle is figurated as a mudfish or a human being with mudfish legs, symbolizing him as a water-spirit. Comparison with mudfish symbolism in other Yoruba cults suggests that this mudfish symbolism refers to Erinle only when he is assimilated to Sango as the founding ancestor of the Qyo kingdom.
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Balogun, Lekan. "Ajubaba: Shakespeare and Yoruba Goddess." International Journal of Comparative Literature and Translation Studies 1, no. 3 (October 15, 2013): 18–25. http://dx.doi.org/10.7575/aiac.ijclts.v.1n.3p.18.

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DADJO, Servais Dieu-Donné Yédia. "Exploring Pragmatic Transfers in Ayoade Okedokun’s Mopelola: The Tale of a Beauty Goddess: A Sociolinguistic Perspective." Education and Linguistics Research 8, no. 1 (January 9, 2022): 12. http://dx.doi.org/10.5296/elr.v8i1.19258.

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This research work investigates pragmatic transfers in Okedokun’s Mopelola: The Tale of a Beauty Goddess. It aims at identifying, analyzing and interpreting pragmatic features through which specific meanings are conveyed in the selected play. In the attempt to reach this goal, the data are randomly collected from the whole play on the basis of a quantitative method. Then, the statistical results are qualitatively discussed and interpreted in terms of their frequency distribution. The findings show a predominance of pragmatic transfer of loan words representing 33.33% followed by proverbs 32.14% and loan-blends 16.16%. Transfers of greetings, insults and apology are low as they represent respectively 3.57%, 3.57%, and 2.38% whereas other transfers such as request, gratitude, offer, blaming/reproaching and advice are almost nonexistent. The high proportions of loan words as well as proverbs suggest the author’s determination to value Yoruba culture and tradition. The almost important proportion of loan-blends constitutes a strategy for the author to attract readers’ attention on the various authentic Yoruba expressions. The presence of transfer in greetings stresses the peculiarity of Yoruba culture characterized by the expression of profound respect to elderly people. On the other hand, the presence of insults indicates that though Yoruba culture is characterized by the expression of profound respect, some Yoruba people, as the black sheep, do develop arrogance in contradiction to their culture.
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Gleason, Judith, Joseph M. Murphy, and Mei-Mei Sanford. "Osun across the Waters: A Yoruba Goddess in Africa and the Americas." African Studies Review 45, no. 3 (December 2002): 151. http://dx.doi.org/10.2307/1515144.

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Murphy, Joseph M., and Mei-Mei Sanford. "ÒÒsun across the Waters: A Yoruba Goddess in Africa and the Americas." Nova Religio 8, no. 3 (March 1, 2005): 120–21. http://dx.doi.org/10.1525/nr.2005.8.3.120.

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Otero, Solimar, Joseph M. Murphy, and Mei Mei Sanford. "Osun across the Waters: A Yoruba Goddess in Africa and the Americas." International Journal of African Historical Studies 34, no. 3 (2001): 666. http://dx.doi.org/10.2307/3097567.

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Koutchadé, Innocent Sourou. "Investigating Features of Multilingualism in Ayoade Okedokun’s Mopelola: The Tale of a Beauty Goddess: A Sociolinguistic Appraisal." Education and Linguistics Research 6, no. 2 (December 26, 2020): 178. http://dx.doi.org/10.5296/elr.v6i2.18112.

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In most African writings, it is commonly noticed that culture and linguistic background affect the creation of literary idiolects. African writers use the English language in accordance with the situation in which they find themselves; they also make use of multilingual features, thus combining the English language with the linguistic resources they draw from their mother tongue. This paper aims to explore patterns of multilingualism in Mopelola: The Tale of a Beauty Goddess, a play produced by a Nigerian writer, Ayoade Okedokun. The paper mainly focuses on the linguistic and cultural influence of Yoruba that reflect the use of multilingualism features in the play. The analysis shows that there are various instances of borrowing, code-switching and transliteration representing the cultural interferences which are used to accommodate some elements of the writer’s native culture and language into the English language.
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Ogunwande, Isiaka A., Tameka M. Walker, Anita Bansal, William N. Setzer, and Emmanuel E. Essien. "Essential Oil Constituents and Biological Activities of Peristrophe Bicalyculata and Borreria verticillata." Natural Product Communications 5, no. 11 (November 2010): 1934578X1000501. http://dx.doi.org/10.1177/1934578x1000501125.

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Peristrophe bicalyculata (Retz) Nees (Acanthaceae) or ‘The Goddess of Mercy’ and Borreria verticillata (L.) G.F.W. Mey., (Rubiaceae), or ‘Irawo-Ile’ (Yoruba, South-west, Nigeria), are annual herbs, which are poorly exploited. The volatile oils obtained by hydrodistillation in an all glass Clevenger-type apparatus from the plant samples have been investigated by gas chromatography-mass spectrometry (GC-MS). With respect to the oil of P. bicalyculata, β-caryophyllene (33.9%), α-zingiberene (10.4%), germacrene D and globulol (5.0%) were the compounds occurring in abundance. The oil of B. verticillata had an abundance of phytol (56.3%) and 1, 8-cineole (20.4%), with sizeable proportions of α-pinene (7.1%) and p-cymene (4.0%). In addition, the volatile oils displayed promising in-vitro antimicrobial activity against the tested micro-organisms, (MIC 12.5-22.3 μg/mL), while only the oil of P. bicalyculata displayed in-vitro cytotoxicity to MCF-7 (human breast tumor) and MDA-MB-468 (human breast tumor) cells. The present investigation may be the first of its kind for the evaluation of the volatile oil constituents of the studied plants.
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Olupona, Jacob K. "Osun across the Waters: A Yoruba goddess in Africa and the Americas, edited by Joseph M. Murphy and Mei-Mei Sanford. Bloomington, IL: Indiana University Press, 2001. x + 273 pp. US$29.95 paperback. ISBN 0-253-21459-9 (paperback)." African Affairs 104, no. 416 (July 1, 2005): 548–50. http://dx.doi.org/10.1093/afraf/adi059.

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Thompson, Cheryl. "From Venus to “Black Venus”: Beyoncé’s I Have Three Hearts, Fashion, and the Limits of Visual Culture." Fashion Studies 3, no. 1 (November 27, 2020). http://dx.doi.org/10.38055/fs030102.

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In 2016, Lemonade was lauded as “Black girl magic” for the ways the hour-long HBO special (and subsequent album) celebrated Black women and the Southern gothic tradition. It also was the first hint of Beyoncé paying homage to West African Yoruba traditions. At the 2017 Grammys, her performance was both an invocation of the sacred in Western art history and further homage to Yoruba. The performance opened with poetry by Warsan Shire, and snapshots of her daughter, Blue Ivy, but the highlight was Beyoncé’s gold gown, and crown, and gold accessories, all of which symbolized the African goddess Osun. Released just before her Grammys performance, the I Have Three Hearts photo-series circulated as pregnancy images (she was pregnant with twins), but it also functioned as a repository of Beyoncé’s invocation of the sacred in Western culture, as embodied in Venus, and the African goddess, often labelled as “Black Venus.” This article is an examination of three images in the I Have Three Hearts series, taken by Awol Erizku, and the series’ accompanying poetry by Shire. I argue that it raises important questions about the role of visual culture in fashion and popular culture. Is Beyoncé the Venus of the twenty-first century? Does this photographic series remap Western visual culture to reimagine Black womanhood in the discourse on sexuality? Or, it is an example of pastiche in postmodern culture wherein truncated information is authorized, making everyone an expert without the demand for historical context?
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Dissertations / Theses on the topic "Yoruba Goddesses"

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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.

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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.
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Kuyebi, Adewale Alani. "Osun of Osogbo and Osun in the new world : the mythological religious study of a Yoruba goddess." 2008. http://hdl.handle.net/1993/21119.

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Books on the topic "Yoruba Goddesses"

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Entenza, Maria Antonia Carrillo. Los oraculos y dilogum de obara iruro: Expolingua Habana '94. [Cuba: s.n.], 1994.

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Yerimah, Amed P. Yemoja: Drama. Ibadan, Nigeria: Kraft Books, 2002.

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Yerimah, Amed P. Yemoja: Drama. Ibadan, Nigeria: Kraft Books, 2002.

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Monteiro, Marcelo. Ajé sàlúgà: Curso teórico e prático da divindade da riqueza e da sorte. [Brazil]: CETRAB, Centro de Tradições Afro-Brasileiras, 2008.

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Castrillo, Luis Diáz. Tratado de Oshún. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratado de Oshún. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratado de Oyá, Obba y Yewá. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratado de Oyá, Obba y Yewá. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Castrillo, Luis Diáz. Tratado de Oyá, Obba y Yewá. Caracas, Venezuela: Ediciones Orunmila, 2005.

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Ogboro-Cole, Oluwagbemiga. Mami Wata: Short stories in Nigerian Pidgin English. Oberhausen: Athena, 2009.

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