Relevant bibliographies by topics / Yoruba literature

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

Academic literature on the topic 'Yoruba literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Yoruba literature"

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Rabiu, Ridwan Akinkunmi. "Place Names as Source Material in the Derivation of Selected Yorùbá Riddles: A Sociological Approach." Journal of Linguistics, Culture and Communication 2, no. 2 (April 7, 2024): 89–107. http://dx.doi.org/10.61320/jolcc.v2i2.89-107.

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This work examined the place of naming, most especially place name in the derivation of Yoruba riddle known as “àlọ́ àpamọ̀”. The main thrust of this work is to examine and analyse the importance of place names as source material in the derivation of selected Yoruba riddles. The aim of this work is to examine the role place names play in the derivation and construction of Yoruba riddles. The theory adopted for this work is the sociological theory of literature and the model adopted under this theory is the mirror image approach which sees literature as the reflection of the society. Data for this research work were gathered from oral documentation through structured interviews and informal gathering of data in different social gatherings. The researcher also makes use of relevant data from existing literatures on Yoruba riddles such as Ajayi (1990), Akinyemi (2015) etc. Some of the place names that are used in the derivation of some Yorùbá riddles as analysed include important cities such as Ìbàdàn, Ọ̀yọ́, Ilé-Ifẹ̀ and Ìkòyí. From the research carried out, the researcher observed the followings (i) place-name derive Yoruba riddles mirror the habit, traits and character of the people of the towns and cities whose names were used in the derivation of the riddles. It was observed that place-name derived Yoruba riddles can be classified as a distinct type of riddle. It was also discovered that place-name derive Yorùbá riddles are sources of historical construction and reconstruction, purveyor of Yoruba culture and system of government. In conclusion, it is established that place name serves as source of derivation for Yoruba riddles and can be used as an instrument of oral histography.
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Sarumi, Kahar Wahab. "Exploring Pan-African Unity and Development in Yoruba Arabic Literature." International Journal for Arabic Linguistics and Literature Studies 5, no. 1 (March 2023): 13–22. http://dx.doi.org/10.31559/jalls2023.5.1.2.

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This article examines the theme of Pan-Africanism in Yoruba literature in Arabic and analyzes the perspectives of Yoruba literati on how unity of the African nations and leaders could function in evolving a new Africa that would withstand socio-economic and political challenges. The article investigates the following questions: how might the views and insights of Yoruba writers and critics benefit Africa in achieving unity for development? And how might Yoruba Arabic literature on Pan-Africanism contribute to switching and shifting the paradigm of development in Africa? To provide answers to these questions, I selected the works of three Yoruba Arabic scholars namely, Adam al-Ilorī, Isa Abu-Bakre and Abdul Aziz Azakawī for analysis. The article benefits in its discussion from historical, descriptive and analytical methods. Employing several historical and analytical methods, the article draws on some of the views of prominent Pan-Africanist intellectuals such as Du Bois, Kwame Nkrumah, Nelson Mandela, Julius Nyerere, Frantz Fanon, Chinua Achebe and Wole Soyinka among others. I argue that the selected Yoruba Arabic writers consider unity as vital to the economic, social and political progress of Africa just as requisite ingredients for its renaissance.
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Asiyanbi, Adeniyi. "Exploring Yoruba Fire Cultures through Proverbs." Proverbium 40 (July 16, 2023): 25–46. http://dx.doi.org/10.29162/pv.40.1.358.

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This article argues that Yoruba proverbs are an essential source of popular wisdom on socio-environmental practices accessible through creative reconstruction and interpretation of their historical contexts. Learning from the everyday knowledge and accumulated wisdom of ordinary people holds significant promise at a time of unprecedented socio-environmental crisis and widespread calls for transformative change across scales. Drawing on the collection of Yoruba proverbs by Oyekan Owomoyela, broader Yoruba oral literature, Yoruba popular culture and a cross-disciplinary selection of academic literature, this article curates and reimagines nine Yoruba proverbs on the theme of fire, using these as an entry point to interrogate aspects of ecology and local understanding and practices of living with fires among the Yoruba people.
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Alabi, Adesanya M. "The Decline of Indigenous Language in African Literature: A Model of the Yoruba Language." African Research & Documentation 139 (2021): 114–24. http://dx.doi.org/10.1017/s0305862x00023980.

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“African literature has presented a lot of problems especially what is to be considered African literature, in which language it should be written, what it should be about, and who should be considered an African writer“(Ndede, 2016:2). This article discusses the linguistic hegemony of the colonial languages with particular reference to Yoruba. “The Yoruba country lies roughly between latitudes 6° and 9°N and longitudes 2° 30’ and 6° 30’ East. The area spreads across the republics of Benin and Togo. The Yoruba are also found in such places as Sierra Leone, Gambia and across the Atlantic in the Caribbean and South America especially in Brazil” (Atanda, 1996; cited in Salawu, 2004).According to Arifalo and Ogen, Yoruba people are forty million worldwide and they further assert that the Yoruba ethnic group is one of the biggest in West Africa (Arifalo and Ogen, 2003; cited in Salawu, 2004).
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Barber, Karin. "Multiple discourses in Yoruba oral literature." Bulletin of the John Rylands Library 73, no. 3 (September 1991): 11–24. http://dx.doi.org/10.7227/bjrl.73.3.2.

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Akewula, Adams Olufemi. "Al-Ghuluwu fi al-amsal al-arabiy." Matatu 51, no. 2 (September 21, 2020): 299–310. http://dx.doi.org/10.1163/18757421-05102006.

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Abstract Al-Ghuluwu fi al-amsal al-arabiy (Postproverbial) is a new trend in modern Arabic studies. It is a way to gain the perceptions of learners of the language into Afro-Arabic and Yoruba cultures in contemporary times. Through the learning of the subject matter, University of Ibadan students of Arabic Language and Literature explore how much common philosophy is shared between postproverbial expressions in Arabic and Yoruba languages. Afro-Arabic postproverbial demonstrates the trends of modernity within the culture. It absorbs and transforms wisdom accumulated over the few years with the experience of students in their various localities. This paper investigates the exposure to postproverbiality in Arabic among the students of Arabic language and literature who are predominantly Yoruba in the University of Ibadan and how the practice of postproverbials transforms their perceptions and values of Yoruba and Afro-Arab cultural concepts. Thus, two questions are raised: to what extent does the use of postproverbials in the Arabic literature course in the University of Ibadan shed light on Yoruba cultural aspects not regularly covered in Arabic Proverbs? How does the use of postproverbials in the Arabic literature course promote a new understanding among the students and make them discover and reassess their values and preferences in the modern time? The theoretical framework of the paper is adopted from A. Raji-Oyelade’s “Postproverbials in Yoruba Culture: A Playful Blasphemy”. The result of this study indicates that students employed their basic knowledge of Arabic language, coupled with their Yoruba cultural background, to re-create a number of postproverbial texts within the context of Arabic culture. It also exhibits their level of consciousness in the modern times.
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LOVEJOY, PAUL E. "The Frontier States of Western Yorubaland, 1600–1889. By BIODUN ADEDIRAN. Ibadan: Institut Français de Recherche en Afrique, 1994. Pp. x + 248. No price given (ISBN 978-2015-25-3)." Journal of African History 38, no. 1 (March 1997): 123–77. http://dx.doi.org/10.1017/s002185379648690x.

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The identification of the various sub-groups of the Yoruba offers a challenge to historians, particularly since large numbers of Yoruba-speaking people were deported into the African diaspora. In this contribution to Yoruba historiography, Adediran analyses the history of the western Yoruba sub-groups, especially those resident in République du Benin and also in Togo. This study expands upon Adediran's Ph.D. thesis (Awolowo University, 1980) and is based on oral traditions and archival materials, as well as an excellent grasp of the published literature.
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RABIU, RIDWAN AKINKUNMI. "HANDSHAKE ACROSS THE NIGER: A STUDY OF LINGUISTIC OUTCOME IN YORÙBÁ-HAUSA CONTACT." Zamfara International Journal of Humanities 2, no. 01 (June 30, 2023): 209–20. http://dx.doi.org/10.36349/zamijoh.2023.v02i01.015.

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This paper examined the relationship between the Yoruba people of South-western Nigeria and the Hausa people of Northern Nigeria within the scope of linguistics. The objective of this paper is to analyze the relationship that exists between these two tribes using linguistic evidence which include analysis of Yoruba borrowed words from Hausa language and Hausa related Yoruba proverbs and proverbial expressions. This work is descriptive in nature and data were gathered from existing literature and from ideal native speakers of Yoruba language with the aid of selected Hausa language helpers. The research findings revealed that Yoruba borrowed words from Hausa language can be classified into two classes which are Alternative borrowing and Non-alternative borrowing. It also discovered that Hausa related Yoruba proverbs and proverbial expressions can be classified to Derogatory Hausa related proverbs which show some form of hate speech and Non-derogatory Hausa related Yoruba proverbs.
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Olaleye-Otunla, Olufemi Joseph, Eyitayo Tolulope Ijisakin, Babasehinde Augustine Ademuleya, and Mosobalaje Oyebamiji Adeoye. "Beyond Frank Willett: The Need for Compositional Analysis of Yoruba Art Objects." Mediterranean Journal of Social Sciences 13, no. 2 (March 5, 2022): 76. http://dx.doi.org/10.36941/mjss-2022-0018.

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Since the pioneering efforts of Frank Willett that examine the Yoruba arts, there remains a yearning gap to holistically investigate the material contents and classification of Yoruba art objects. For proper documentation, information and placement of Yoruba arts, the need for a scientific material compositional analysis of Yoruba arts cannot be overemphasised. This discourse employs a qualitative and evaluative mode of research to emphasize the need, importance and prospects of proper scientific material investigation of Yoruba arts. The study provides information on Frank Willett, the Yoruba people, and relevant studies on the Yoruba arts. It further discusses compositional analysis through the lens of literature, art authentication, and makes a case for authenticating Yoruba art collections. Considering the elegance and importance of African arts and antiquities, the findings of this study show that the provenance of Yoruba art objects has not received adequate attention; this has consequently resulted into illegal excavation, manipulations, and trade of Yoruba art collections. The study concludes that there is utmost importance and necessity for scientific material probing of Yoruba art, if it must go beyond the point where Frank Willett stopped. Hence, the need for all African art historical scholars to prospect for scientific probing of the material contents of Yoruba arts objects. Received: 13 January 2022 / Accepted: 28 February 2022 / Published: 5 March 2022
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Adenaike, Folahan Anthony, and Akunnaya Pearl Opoko. "Thresholds of Architectural Morphology of Yoruba Buildings in Southwest Nigeria till the Millenia." European Journal of Theoretical and Applied Sciences 2, no. 2 (March 1, 2024): 180–93. http://dx.doi.org/10.59324/ejtas.2024.2(2).17.

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The literary materials on Yoruba architecture that are more common are descriptive. They dwell mostly on the massing of units, individual configurations within buildings and cultural patterns in ornamentation. The direct links between the living spaces and their socio-cultural implications are emphasized to explain the origin of the forms. The morphological chronology in the building patterns is regarded as vernacularisation processes especially from the traditional patterns to the vernacular traditions. There are hardly any publications of Yoruba architectural buildings beyond the later vernacular patterns like the Afro-Brazilian style. While these volumes of literature are mostly limited to the traditional and vernacular styles, the ethno-acculturation of more contemporary and foreign building patterns like the "international" and the "postmodern" styles into the body of indigenous architectural building patterns of the Yoruba of Southwest Nigeria are not being investigated and published. The culture of a people is preserved in their architecture. If the culture of the Yoruba is preserved in their buildings, the cross-pollination of the Yoruba culture with different inputs from foreign cultures should be evident in the new indigenous buildings that are evolving up till the end of the twentieth century. This chapter material has organized the different lines of thought in the morphology of indigenous architectural building patterns of the Yoruba into a continuum that extends beyond the limits of the current body of literature on the topic. It attempts to decipher the new forms and elements of the buildings of later Yoruba indigenous architecture up till the turn of the twentieth century. The emphasis is on the definition of newer building patterns that can be termed as "indigenous" to the Yoruba culture in Southwest Nigeria. Having increased the ambit of the Yoruba architecture concerning the building patterns beyond the exposition of the previous publications, the current surcease on the morphology of Yoruba architecture in print can be broken to open up more research and publications on contemporary thresholds of the indigenous Yoruba architecture. The chapter is concluded with a guide on the identity of buildings of indigenous architecture of the Yoruba even within the morass of foreign building patterns that crowd the Yoruba towns in Southwest Nigeria.
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Dissertations / Theses on the topic "Yoruba literature"

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Thiam, Djibril S. "Soyinka's drama in relation to the traditional Yoruba culture of Nigeria." Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301263.

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Oed, Anja. "Antelope (woman) and buffalo (woman) : contemporary literary transformations of a topos in Yoruba culture." Thesis, SOAS, University of London, 2002. http://eprints.soas.ac.uk/28788/.

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This thesis explores four contemporary literary transformations of the topos of agbonrin and efon, antelope (woman) and buffalo (woman) respectively, in D.O. Fagunwa's Ogboju Ode Ninu Igbo Irunmale and Igbo Olodumare, Amos Tutuola's My Life in the Bush of Ghosts, Mobolaji Adenubi's "The Importance of Being Prudent", and Ben Okri's three abiku narratives. The Famished Road, Songs of Enchantment, and Infinite Riches. The introductory chapter raises theoretical issues regarding the notion of a topos itself and examines how these resonate with central Yoruba concepts. Furthermore, it provides an overview of Yoruba cultural beliefs associated with the figures of antelope (woman) and buffalo (woman) and comments on contemporary literary transformations of this topos in general. Each of the consecutive chapters represents an in-depth analysis and interpretation of one contemporary author's literary transformation of the topos of antelope (woman) and/or buffalo (woman). By putting each writer's deployment of the motif of agbonrin and efon in a biographical, historical and socio-cultural perspective, I explore how he or she - more or less consciously - invests it with new meanings and, in the process, transforms it, and how the topos of antelope (woman) and buffalo (woman) thus comes to serve manifold symbolic or metaphoric purposes, reflecting on and expressing a whole range of issues. Not only is the topos as such continuous beyond the precolonial period but it also assumes a new relevance with respect to the socio-cultural and political anxieties generated in the colonial and post-colonial climates. The contemporary literary transformations explored in this thesis all mediate and negotiate personal, socio-cultural and political anxieties in the wake of sustained contact with the West, especially through Christian missionary activity and colonialism. The thematisation of gender relations plays an important symbolic, metaphoric and metonymic role in this respect, since the way in which each writer's literary transformation of the motif of agbonrin and efon relates to the issue of women and female agency in Yoruba culture, or, more generally, in Nigerian culture, is an important means of communicating and conceptualising change.
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Oshindoro, Michael Eniola. "Myth Is Its Own Undoing: Approaching Gender Equity Through Gender Dialogue In Ayọbami Adebayọ’s Stay With Me (2017) And Lọla Shonẹyin’s The Secret Lives Of Baba Sẹgi’s Wives (2010)." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586457496960154.

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Thompson, Sheneese. "Oshun, Lemonade and Other Yellow Things: Philosophical and Empirical Inquiry into Incorporation of Afro-Atlantic Religious Iconography." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555573211820986.

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Jones, Rebecca Katherine. "Writing domestic travel in Yoruba and English print culture, southwestern Nigeria, 1914-2014." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5249/.

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Travel writing criticism has sometimes suggested that little travel writing has been produced by Africans. This thesis shows that this is not the case, through a literary study of writing about travel published in Yoruba-speaking southwestern Nigeria between 1914 and 2014. This is a study of writing about domestic travel – Nigerians travelling within Nigeria – and of both Yoruba- and English-language texts. It is both a study of conventional ‘travel writing’ such as first-person travelogues, and of the motif of travel in writing more broadly: it encompasses serialised newspaper columns, historical writing, novels, autobiography, book-length travelogues and online writing. As well as close readings, this study draws on archival research and an in-depth interview with travel writer Pelu Awofeso. This is not an exhaustive study but rather a series of case studies, placed in their historical context. I examine southwestern Nigerian writers’ re resentations of laces within Nigeria and changing communal identities: local, translocal, regional and national. I explore their ideas about the benefits of travel and travel writing, knowledge and cosmopolitanism. I argue that we can read these texts as products of a local print culture, addressed to local readers, as well as in relation to the broader travel writing tradition.
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García, Ana Margarita Barandela. "A presença yoruba nas literaturas cubana e brasileira: o sagrado no realismo maravilhoso de Jorge Amado e Manuel Cofiño." Universidade Federal de Alagoas, 2007. http://repositorio.ufal.br/handle/riufal/432.

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Son innumerables las semejanzas culturales entre Cuba y Bahía en las características de la composición étnica y cultural en las cuales el aporte de varias razas que vinieron de las mismas regiones geográfica crearon una mezcla cultural que presenta puntos comunes en la música, la danza, la culinaria y principalmente en lo que se refiere a la religión de los afro descendientes. También la literatura, integrando el lado simbólico de esas culturas, no podría dejar de recrear esa realidad. En este trabajo me propongo comparar dos novelas latinoamericanas de esas regiones. Ellas son O Sumiço da Santa del escritor brasileño Jorge Amado (1912-2001) y Cuando la sangre se parece al fuego del cubano Manuel Cofiño (1936- 1987). Las obras presentan puntos de convergencia de un diálogo intercultural del que participan las deidades de la religión yoruba, lo que permite que ambas presenten elementos de un confronto de culturas y razas que serán estudiados a partir de la categoría de lo sagrado africano. Para el estudio de lo sagrado dirigimos nuestro interés principalmente para los trabajos de Èmile Durkheim (1996) que define lo sagrado como un hecho social. Como lo sagrado africano aparece en las o obras utilizando el procedimiento de lo real maravilloso incluimos también esa categoría basando nuestro estudio en la obra de Irlemar Chiampi (1980) que incorpora el elemento magia dentro de la categoría de lo real maravilloso. Fue posible constatar que la interrelación de los personajes humanos con los personajes divinos, a través del procedimiento de lo real maravilloso posibilitó, en los primeros un entendimiento del pasado con el presente y la comprensión de las particularidades de una sociedad, en la cual la mezcla racial dio paso a una mezcla cultural que la caracteriza.
São inúmeras as semelhanças culturais entre Cuba e Bahia, nas características da composição étnica e cultural em que o aporte de varias raças vindas das mesmas regiões geográficas criaram uma mistura cultural que apresenta pontos em comum na musica, na dança, na culinária e principalmente no referente à religião dos afro-descendentes. Também a literatura, integrando a face simbólica dessas culturas, não poderia deixar de recriar essa realidade. Nesta pesquisa me proponho comparar dois romances latino-americanos dessas regiões. Eles são O Sumiço da Santa do escritor brasileiro Jorge Amado (1912-2001) e Cuando la sangre se parece al fuego do cubano Manuel Cofiño (1936-1987). As obras apresentam pontos de convergência de um diálogo intercultural do qual participam as deidades da religião yoruba o que permite que ambos apresentem elementos de um confronto de culturas e raças que serão estudados a partir da categoria do sagrado africano. Para o estudo do sagrado dirigimos nosso olhar principalmente para os trabalhos de Èmile Durkheim (1996) que define o sagrado como um fato social. Como o sagrado africano aparece nas obras utilizando o procedimento do real maravilhoso incluímos também essa categoria baseando nosso estudo na obra de Irlemar Chiampi (1980) que incorpora o elemento magia dentro da categoria maravilhoso. Foi possível constatar que a inter-relação dos personagens humanos com os personagens divinos, através do procedimento do real maravilhoso possibilitou, nos primeiros, um entendimento do passado com o presente e a compreensão das particularidades de uma sociedade, em que a mistura racial deu passo a uma mestiçagem cultural que a caracteriza.
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García, Ana Margarita Barandela. "Mensageiros do sagrado e do profane : diálogos culturais nas obras de Jorge Amado, Gabriel García Márquez, Mayra Montero e Conceição Evaristo." Universidade Federal de Alagoas, 2011. http://repositorio.ufal.br/handle/riufal/554.

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En Cuba y Brasil, así como en algunos países de América Latina no se puede hablar de cultura sin tener en consideración los elementos de origen africana que están presentes en la música, en los bailes, en las fiestas populares, en la culinaria, en el teatro, en las artes plásticas, y también en la literatura. El objetivo de este trabajo es analizar la representación del sagrado de raíces africanas en cuatro novelas latinoamericanas, que son: O compadre de Ogum (2006), del brasileño Jorge Amado; Del amor y otros demonios (2004), Del colombiano Gabriel García Márquez; Como un mensajero tuyo (1998), de la cubana Mayra Montero y Ponciá Vicêncio (2006), de la brasileña Conceição Evaristo. Analizo, en los tres primeros, la presencia de lo sagrado y lo profano y la forma con la que los narradores utilizan la ironía como estrategia para invertir la hegemonía de las religiones. Fue posible observar la existencia, en esas tres novelas, de personajes híbridos, los mensajeros que se dislocan entre mundos aparentemente opuestos realizando puntos de unión entre ellos. Con el propósito de observar como el mito yoruba ultrapasa los personajes en las narrativas contemporánea escrita por mujeres, comparé las obras Como un mensajero tuyo (1998) e Poncia Vicêncio (2006). Aunque en esas dos obras los orishas aparezcan de forma menos evidente, ellos no se debilitan, pues los personajes rescriben esos mitos en el texto literario otorgándole un papel destacado a las figuras femeninas.
Em Cuba e no Brasil, assim como em alguns países da América Latina, não se pode falar de cultura sem ter em consideração os elementos de origem africana que estão presentes na música e dança, nas festas populares, na culinária, no teatro, nas artes plásticas, e também na literatura. O objetivo deste trabalho é analisar a representação do sagrado de raízes africanas em quatro romances latino-americanos, que são: O compadre de Ogum (2006), do brasileiro Jorge Amado; Del amor y otros demonios (2004), do colombiano Gabriel García Márquez; Como un mensajero tuyo (1998), da cubana Mayra Montero; e Ponciá Vicêncio (2006), da brasileira Conceição Evaristo. Analiso, nos três primeiros, a presença do sagrado e do profano e a forma como os narradores utilizam a ironia como estratégia para inverter a hegemonia das religiões. Foi possível observar a existência, nesses três romances, de personagens híbridos, os mensageiros , que se movimentam fazendo uma ponte de união entre dois mundos aparentemente conflitantes. Com o propósito de observar como o mito yoruba permeia os personagens das narrativas contemporâneas de autoria feminina, comparei as obras Como un mensajero tuyo (1998) e Poncia Vicêncio (2006). Embora nessas duas obras os orixás apareçam de forma menos ostensiva, eles não enfraquecem, pois os personagens reescrevem esses mitos no texto literário outorgando um papel de destaque às figuras femininas.
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"Vowel lengthening in standard Yoruba." Tulane University, 1998.

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This study seeks to provide a descriptive analysis of vowel lengthening in Standard Yoruba. It explores the phonological, morphological, and syntactic processes that condition Yoruba vowel lengthening. Vowel lengthening in Standard Yoruba can be shown to be a product of two interacting phonological processes, consonant deletion and vowel assimilation. These phonological processes are conditioned lexically and syntactically. Syntactic constructions determine the applicability of vowel lengthening or its inverse, vowel deletion. Tone is shown to operate independently of segmental assimilation, but not deletion Finally, this study examines the pedagogical implications of vowel lengthening to second language learners of Yoruba
acase@tulane.edu
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Omolola, Bayo Rasheed. "The study of oral tradition in Yoruba movies." Thesis, 2013. http://hdl.handle.net/10500/13268.

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The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data.
African Languages
D. Litt. et Phil. (African Languages)
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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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Books on the topic "Yoruba literature"

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University of Ibadan. Department of Adult Education and University of Ibadan. External Studies Programme, eds. Introduction to Yoruba oral literature: Ìfáàrà sí lítíréṣọ̀ alohùn Yorùbá. Ibadan: Department of Adult Education, University of Ibadan, 1991.

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Ogunyemi, Yemi D. Introduction to Yoruba philosophy, religion, and literature. Brooklyn, N.Y: Athelia Henrietta Press, 1998.

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Ọlátúnjí, Ọlátúndé O. Beyond the spoken word: An African language literature experience. Ibadan, Nigeria: University of Ibadan, 1993.

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Lijadu, E. M. Ifa (as literature). Lagos: West African Book Publishers, 2010.

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Ayoade, Okedokun. Ìka àbámò. Ibadan: Evans, 1992.

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Ọlabimtan, Afọlabi. The challenges to Yoruba literature: Yesterday, today, and tomorrow : an inaugural lecture delivered at the University of Lagos on Wednesday, 11th February, 1987. Lagos: Lagos University Press, 1987.

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Ọlátúnjí, Ọlátúndé O. Beyond the spoken word: An African language literature experience : an inaugural lecture delivered at the University of Ibadan on Thursday, 14th May, 1987. Ibadan, Nigeria: University of Ibadan, 1993.

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O'Mos, Ikupasa. Aspects of Yoruba cosmology in Tutuola's novels. Kinshasa: Centre de recherches pédagogiques, 1990.

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ill, Kim Holly C., ed. The Iroko-man: A Yoruba folktale. New York: Orchard Books, 1994.

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Ọlátẹ́jú, Moses Olúfúnmiláyọ̀ Adẹ́sọlá. Language and style [-listics] in literary and routine communication: The Yorùbá example : an inaugural lecture delivered at the University of Ibadan on Thurdsay, 18 August 2016. Ibadan, Nigeria: Ibadan University Press, 2016.

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Book chapters on the topic "Yoruba literature"

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Adigun, Bisi. "From the Yoruba Travelling Theatre to the Nobel Prize in Literature: Nigerian Theatre in Motion." In The Palgrave Handbook of Theatre and Migration, 415–26. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20196-7_33.

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Geider, Thomas. "Babalola, Adeboye: The Content and Form of Yoruba Ijala." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_10805-1.

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Adesina, Damola, and Sola Olorunyomi. "Appropriation of Orature for Pedagogy by Early Yorùbá Christians." In African Languages and Literatures in the 21st Century, 43–69. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23479-9_3.

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"Current Issues and Trends in African Verbal Stylistics: The Yoruba Example." In Style in African Literature, 59–70. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207553_006.

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Reckert, Stephen. "Golden Lamps In a Green Night." In Beyond Chrysanthemums, 66–103. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198151654.003.0003.

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Abstract The jangadeiros of Bahia—well named ‘Bay of All Saints’ —light votive fires on the beaches to Yemanjá, the Yoruba goddess of the sea, before they set sail for the night’s fishing on their fragile rafts. But pre-technological attitudes and practices are not peculiar to the Third World, as the Midsummer Night bonfires1 along the banks of the Galician rías and on the rocky hillsides of Trás-os-Montes bear witness; even in our own century a substantial part of the population of north-western Iberia has continued to inhabit in imagination ‘a region of fiery dragons and apples of gold’ (as a historian of Portuguese literature called it) hardly less syncretic, if more discreetly camouflaged, than anything in north-eastern Brazil. And the corresponding part of the population of Andalusia, with its Gypsy and Moorish leavening, shares the same mythic or symbolic mode of apprehending and interpreting the natural world.
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Dasylva, Oluwagbemiga, and Solon Simmons. "Narrative Change at the Roots: Imagining Peace in Modern Nigeria." In Global Peace and Security [Working Title]. IntechOpen, 2023. http://dx.doi.org/10.5772/intechopen.109144.

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This paper brings the literature on “narrative change” and “narrative transformation” to bear on post-independence Nigeria, applying an interpretative framework called Root Narrative Theory (RNT) to 1960s Nigeria; In this paper, we analyze selected memoirs of leaders who were key players in the country’s critical political junctures in the first decade of independence, when combatting poverty and economic development on a distinctive African model still seemed viable: Obafemi Awolowo, a Yoruba from the West, Nnamdi Azikiwe, an Igbo from the East, and Tafawa Balewa and Ahmadu Bello, two representatives of the North. This sample of memoirs reflects the discursive post-independence Nigeria in a decisive moment, revealing how these representative visionaries reflected on and responded to the daunting challenges that the newly independent Nigerian State had to contend with after almost a century of colonial rule. The analysis reveals how the clash of visions between these four indigenous perspectives and those of the key members of the international community plunged the nascent Nigerian project into contradiction; these then contingent gaps in the ramifying operational imaginations of key actors have remained almost unchanged, demonstrating how the narratives of that time set the parameters for the possibilities of development and peacebuilding in Nigeria today.
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Balme, Christopher. "J.B. Alston: Yoruba Drama in English: Interpretation and Production. [Studies in African Literature; 1]. (Lewiston KY: Edwin Mellen, 1989). 192 pages. US$ 59.95." In Caribbean Writers / Les auteurs Caribéens, 231–32. BRILL, 1994. http://dx.doi.org/10.1163/9789004656017_038.

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Rafiu, K. Adewale. "The Syntax of Reflexives in Yoruba." In Nigerian Languages, Literatures, Culture and Reforms, 649–56. M and J Grand Orbit Communications, 2016. http://dx.doi.org/10.2307/j.ctvgc602p.59.

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Newell, Stephanie. "Things Fall Apart Presence and Palimpsest in the Colonial-scape." In West African Literatures, 85–100. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199298877.003.0006.

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Abstract Chinua Achebe’s life and work encapsulate key areas of colonial and postcolonial experience in West Africa. Born in Igboland in 1930, at the height of British imperial rule in Nigeria, Achebe followed the educational pathways opened by Christianity and colonialism for African youths: he attended mission school and government school in eastern Nigeria, and in the early 1950s progressed to University College, Ibadan, in the Yoruba-speaking west of Nigeria. All around him from the 1930s to the 1950s, increasing numbers of educated Nigerians were questioning missionary and colonial ‘civilization’ projects, and nationalists were calling for self-rule.
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Lawani, Margaret T. "Code-Switching among Yoruba/English Bilinguals & its Implications for Teaching & Learning." In Nigerian Languages, Literatures, Culture and Reforms, 69–78. M and J Grand Orbit Communications, 2016. http://dx.doi.org/10.2307/j.ctvgc602p.10.

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Conference papers on the topic "Yoruba literature"

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"The Yoruba Concept of Spirit Husband and the Islamic Belief in Intermarriage between Jinn and Man: A Comparative Discourse." In International Conference on Humanities, Literature and Management. International Centre of Economics, Humanities and Management, 2015. http://dx.doi.org/10.15242/icehm.ed0115006.

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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.

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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s place, it is a space that allows the crossing of knowledge produced as deviations from colonial impositions on so-called official knowledge, a process which the author names “cruzo” (cross): the encruzilhada is a refusal to everything put as absolute; Exu is the movement of that encruzilhada. In addition to the positivization of the knowledge and ways of living of peoples who have suffered, over the centuries, from numerous processes of inferiority, it is necessary to insert this knowledge in the cultural elements of the present— and in the conceptions about the future. It is in this context that, regarding the experience of Afro-diasporic peoples, a global aesthetic movement that encompasses arts, literature, audiovisual and academic research emerges: Afrofuturism (YASZEK, 2013). Afrofuturism goal is to connect the dilemmas of the African diaspora to technological innovations, commonly unavailable to the descendants of the enslaved, and it aims to establish possible future scenarios— scenarios that contemplate the presence and, furthermore, the protagonism of black people (YASZEK, 2013). To this end, the movement breaks with the Western linear chronology and starts to consider time in a cyclic way, interweaving past, present and future in a single composition: in the same way that Exu, in the Yoruba cosmology, killed a bird yesterday with a stone that has only been thrown today, Afrofuturism weaves a web of historical and cultural retaking of African memory with questions that arise from the reflection of the problems faced by black people in the present, in order to think about a positive and possible future, once a dystopian scenario is already weighing on the shoulders of them. In the frontier of visual arts and design, Luiz Gustavo Nostalgia, a creator based on Rio de Janeiro, dismantles existing images and rearranges them through collages to create a new intention of meaning. His work evokes the cruzo on the principle of rearranging— central to collages— with the widespread rearrangement of our ways of living and understanding society— based on an Afrofuturistic conception of world— by celebrating African motifs, culture and spirituality, allied to the already acquainted aesthetics of “future” (such as the galaxy, bright lights and robotic elements). Through your creation, the artist is capable of presenting a future where black people do exist as protagonists and have their culture, past and roots celebrated.
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Arantes, Priscila, and Cynthia Nunes. "Hacia la encruzilhada descolonial: los collages afrofuturísticos de Luiz Gustavo Nostalgia como materialización artística del cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.g108.

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La tarea de revisar los silencios presentes en las historias hegemónicas surge a principios del siglo XX, buscando dar una forma más amplia de entender la historia de los pueblos y naciones sometidos a la subyugación colonial. Rufino (2019) considera que este espacio de descolonización se presenta bajo el nombre de “encruzilhada” y entiende las potencialidades del orixá Exu, de la espiritualidad yoruba: el orixá de la comunicación, de los caminos y el guardián del axé (energía vital). Exu desordena lo que existe para reconstruirlo. Por lo tanto, ya que la encruzilhada es el lugar de Exu, es un espacio que permite el cruce de los conocimientos producidos como desviaciones de las imposiciones coloniales sobre el llamado conocimiento oficial, proceso que el autor denomina “cruzo”: la encruzilhada es un rechazo a todo lo puesto como absoluto; Exu es el movimiento de esa encruzilhada. Además de la positivización de los conocimientos y modos de vida de los pueblos que han sufrido a lo largo de los siglos numerosos procesos de inferioridad, es necesario insertar estos conocimientos en los elementos culturales del presente y en las concepciones sobre el futuro. Es en este contexto en el que, en relación con la experiencia de los pueblos afrodiaspóricos, surge un movimiento estético global que abarca las artes, la literatura, lo audiovisual y la investigación académica: el afrofuturismo (YASZEK, 2013). El objetivo del afrofuturismo es conectar los dilemas de la diáspora africana con las innovaciones tecnológicas, comúnmente no disponibles para los descendientes de los esclavizados, y pretende establecer posibles escenarios futuros, escenarios que contemplen la presencia y, además, el protagonismo de las personas negras (YASZEK, 2013). Para ello, el movimiento rompe con la cronología lineal occidental y pasa a considerar el tiempo de forma cíclica, entrelazando pasado, presente y futuro en una misma composición. De la misma manera que Exu, en la cosmología yoruba, mató un pájaro ayer con una piedra que sólo ha sido lanzada hoy, el Afrofuturismo teje una red de retomo histórico y cultural de la memoria africana con cuestiones que surgen de la reflexión de los problemas a los que se enfrenta la población negra en el presente, para pensar en un futuro positivo y posible una vez que un escenario distópico pesa ya sobre sus hombros. En la frontera entre las artes visuales y el diseño, Luiz Gustavo Nostalgia, creador afincado en Río de Janeiro, desmonta las imágenes existentes y las reordena mediante collages para crear una nueva intención de sentido. Su obra evoca el cruzo del principio de reordenación -central en los collages- con la reordenación generalizada de nuestras formas de vivir y entender la sociedad -basada en una concepción afrofuturista del mundo- al celebrar los motivos africanos, la cultura y la espiritualidad, aliados a la estética ya conocida del “futuro” (como la galaxia, las luces brillantes y los elementos robóticos). A través de su creación, el artista es capaz de presentar un futuro en el que las personas negras existen como protagonistas y en el que se celebra su cultura, su pasado y sus raíces.
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