Relevant bibliographies by topics / Yoruba Mythology

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Academic literature on the topic 'Yoruba Mythology'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Yoruba Mythology"

1

Otero, Solimar. "Ik� and Cuban Nationhood: Yoruba Mythology in the FilmGuantanamera." Africa Today 46, no. 2 (April 1999): 116–31. http://dx.doi.org/10.2979/aft.1999.46.2.116.

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Otero, Solimar. "Iku and Cuban Nationhood: Yoruba Mythology in the Film Guantanamera." Africa Today 46, no. 2 (1999): 117–31. http://dx.doi.org/10.1353/at.1999.0010.

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Hansen, Robin Wildt. "Cosmogony through division in Romanian and world mythology." Studii de istorie a filosofiei românești 2023, no. 19 (December 18, 2023): 171–78. http://dx.doi.org/10.59277/sifr.202319.11.

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In this paper, an interpretation is attempted of the Romanian myth, “Legenda despre zidirea lumii”. Parallels are drawn with tales such as Genesis, the Babylonian narrative of Marduk constructing the world from Tiamat, and the Norse story of Odin shaping the world from Ymir. In the Romanian myth, Satan’s prideful omission to enunciate God’s blessing as he collects sand results in the formation of varied terrains. His attempt to harm God inadvertently spreads divine blessings all over the world. Similarly, in Norse and Yoruba myths, stifling barriers and attempts at desecration lead to the paradoxical spreading of life and blessings, emphasizing the unforeseen outcomes of resistance to divine will.
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Bondarenko, Dmitri M. "Advent of the Second (Oba) Dynasty: Another Assessment of a Benin History Key Point." History in Africa 30 (2003): 63–85. http://dx.doi.org/10.1017/s0361541300003144.

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There is no other theme in precolonial Benin Kingdom studies around which so many lances have been broken as that of consolidation of the present-day Second (Oba) dynasty and the person of its founder Oranmiyan (Oranyan in Yoruba). The main reason for this is the existence of considerable disagreements between numerous Bini and Yoruba versions of the oral historical tradition. Besides this, the story of Oranmiyan is one of the Bini and Yoruba oral history pages most tightly connected with mythology. This fact becomes especially important if one takes into account that the oral tradition is no doubt the main (though not the only) source on the consolidation of the Oba Dynasty in Benin. The key point on which different Bini and Yoruba traditions openly contradict each other, and which scholars debate, is the origin of the Dynasty. Who initiated its founding: Bini or Yoruba? Was it a request or a conquest? Are the characters of the oral tradition relations historical figures? Finally, what were historical, sociocultural, and political circumstances of the Oba accession?If one disengages from details, three groups of traditional versions that describe the origin and life of Oranmiyan (including its period connected with Benin) can be distinguished. These groups may be designated as the Yoruba one, the Benin “official” (i.e., traditionally recognized by Oba themselves and most widely spread among common Bini) and Benin “apocryphal” traditions. In the meantime it should be borne in mind that Bini and Yoruba native gatherers and publishers of the oral historical tradition could influence each other. For example, the Yoruba Johnson could influence the Bini Egharevba, while the latter in his turn could influence another Yoruba, Fabunmi, and so on.
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Khanal, Nagarjun. "Uncompromising Affirmation of Culture: Soyinka’s Death and the King’s Horseman." Tribhuvan University Journal 27, no. 1-2 (December 30, 2010): 91–96. http://dx.doi.org/10.3126/tuj.v27i1-2.26391.

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Whole Soyinka’s Death and the King’s Horseman is the convergence of two issues: the first focuses on the Yoruba priest Elesin, who represents the embodiment of the mythology and the history of the people; the second concentrates on the “sterile, existential wasteland” (Ralph-Bowman, 1983) of the white colonialists. The two issues come into conflict in the sacrifice of Elesin’s European-educated son, Olunde, whose death represents a significant and uncom promising affirmation of Yoruba cultural tradition. The sacrifice ofolunde, though appears as metaphysical, is entirely secular and practical. Hedies to preserve the safety of his community and his action can be appreciated as a form of martyrdom. Olunde’s sacrifice symbolizes an act that asserts the value of higher duty against both the internal threat of materialistic self-interest and the external threat of an imposed alien culture.
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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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James, Sunday. "©2023 by the Authors. This Article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/." European Journal of Philosophy, Culture and Religion 7, no. 1 (August 25, 2023): 79–87. http://dx.doi.org/10.47672/ejpcr.1572.

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Many secret signs and symbols area associated with the Yoruba as we have it amongst many tribes in Nigeria. Some of these signs and symbols have deep meanings and have connotations amongst the tribe. They form the everyday language of the people and a thorough understanding of them is key in their relationship with one another as a people. The objective of this study is to express the cultural connotations of selected symbols in relation to the Yoruba people of Nigeria. The study hinges on the theories of Mimesis, Structural Formalism and Semiotics. This was validated through ethnographic study of symbols such as art, architecture, clothing, body marks and decorations among others to discover deep and hidden information about cultural beliefs and assumptions among the people under study. Pertinent literatures were reviewed, interviews were conducted, information was sourced from the internet and personal experience was explored. The study points out to the fact that a lot of deep and secret meanings are attached to the selected signs and symbols. The paper concludes that meanings expressed are generally accepted by a host of the Yoruba people; however, there could be slight differences in belief system from one locality to another. The paper had contributed to the pool of knowledge by bringing unknown and hidden meanings of selected signs and symbols of the Yoruba people to limelight. The paper recommends that signs and symbols commonly used in communication among the Yoruba people of Nigeria should incorporated into the curricula of schools; especially Yoruba as a subject and taught to preserve the tradition from extinction. It is also recommended that folklores, mythology and oral tradition be encouraged among younger generation so as to preserve cultural values.
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David, Janice Sandra, and V. Bhuvaneswari. "Interconnection of Nature and Yoruba Traditions in Okri’s Trilogies." Theory and Practice in Language Studies 12, no. 6 (June 1, 2022): 1220–24. http://dx.doi.org/10.17507/tpls.1206.23.

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Africa's history and ecology were shaped by colonization. The European invasion of eastern nations had a significant influence on the environment. The technical advancements due to colonization have been both beneficial and detrimental to the colonized countries. The harmful consequences have prompted several researchers and African writers to conduct a critical examination of the interaction between humans and their environment in terms of race, culture, economy, power, and belonging. Ben Okri is an internationally acclaimed poet, writer, artist, and public speaker. In his trilogies The Famished Road, Songs of Enchantment, and Infinite Riches Okri has depicted the repercussions of colonization and the process of decolonization on the individual and the environment in order to understand the African reality. This paper highlights the interconnection of nature and culture which is considered as one of the main tenets of African culture and tradition. Okri employs magical realism as a literary method to emphasize the interplay between the human and natural worlds. Okri has included vivid imagery of verdant forest that has been deforested and wounded. According to the Yoruba mythology, the forest is frequently associated with magic and the supernatural world, in keeping with West African customs. Therefore, the exploitation of the natural world has led to the abandonment of traditional values which is well depicted. Further, the paper attempts to examine the effect of colonialism in eroding the spirit world and the physical world in terms of social structure and the degrading culture and its relationship with the environment.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.

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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Bellei, Francesca. "The Nose at the Crossroads: An Intersectional Reading of the Pseudo-Vergilian Moretum." TAPA 154, no. 1 (March 2024): 213–50. http://dx.doi.org/10.1353/apa.2024.a925502.

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summary: This article provides a new interpretation of the anonymous poem Moretum as erotic satire. Mindful of Shelley Haley's invitation to read it through a Black feminist lens, this article turns to recent Black feminist scholarship on pornography to argue that the presence of sex does not automatically negate the agency of Scybale, the African woman described in the poem as Simulus's custos . Further, I review the evidence for Simulus's own identity. Through a combination of Audre Lorde's Black queer lens and Paul Preciado's trans scholarship on the dildo, I further argue that by imagining Simulus as Black, queer, and/or trans, the power imbalance between Simulus and Scybale is greatly reduced. Lastly, I heed Haley's invitation to read Black protagonists of Latin poetry through Yoruba mythology, and turn to Henry Louis Gates Jr. to argue that Simulus's Blackness brings them closest to Esu, the genderqueer trickster god, which in turn helps us identify him with the author themselves.
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Dissertations / Theses on the topic "Yoruba Mythology"

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Williams, Annette Lyn. "Our mysterious mothers| The primordial feminine power of aje in the cosmology, mythology, and historical reality of the West African Yoruba." Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643206.

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Among the Yoruba àjé&dotbelow; is the primordial force of causation and creation. Àjé&dotbelow; is the power of the feminine, of female divinity and women, and àjé&dotbelow; is the women themselves who wield this power. Unfortunately, àjé&dotbelow; has been translated witch/witchcraft with attendant malevolent connotations. Though the fearsome nature of àjé&dotbelow; cannot be denied, àjé&dotbelow; is a richly nuanced term. Examination of Yoruba sacred text, Odu Ifa, reveals àjé&dotbelow; to be an endowment gifted to female divinity from the Source of Creation. Female divinity empowered their mortal daughters with àjé&dotbelow;—spiritual and temporal power exercised in religious, judicial, political, and economic domains throughout Yoruba history. However, in contemporary times àjé&dotbelow; have been negatively branded as witches and attacked.

The dissertation investigates factors contributing to the duality in attitude towards àjé&dotbelow; and factors that contributed to the intensified representation of their fearsome aspects to the virtual disavowal of their positive dimensions. Employing transdisciplinary methodology and using multiple lenses, including hermeneutics, historiography, and critical theory, the place of àjé&dotbelow; within Yoruba cosmology and historical reality is presented to broaden understanding and appreciation of the power and role of àjé&dotbelow; as well as to elucidate challenges to àjé&dotbelow;. Personal experiences of àjé&dotbelow; are spoken to within the qualitative interviews. Individuals with knowledge of àjé&dotbelow; were interviewed in Yorubaland and within the United States.

Culture is not static. A critical reading of Odu Ifa reveals the infiltration of patriarchal influence. The research uncovered that patriarchal evolution within Yoruba society buttressed and augmented by the patriarchy of British imperialism as well as the economic and social transformations wrought by colonialism coalesced to undermine àjé&dotbelow; power and function.

In our out-of-balance world, there might be wisdom to be gleaned from beings that were given the charge of maintaining cosmic balance. Giving proper respect and honor to "our mothers" (awon iya wa) who own and control àjé&dotbelow;, individuals are called to exercise their àjé&dotbelow; in the world in the cause of social justice, to be the guardians of a just society.

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Weisser, Gabriele. "Das Königtum der Owo-Yoruba : zwischen Geschichte und Mythologie /." Hamburg : Kovač, 2008. http://www.verlagdrkovac.de/978-3-8300-3303-5.htm.

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Müller, Bernard. "Théâtre, nationalisme et travail culturel au Nigeria aujourd'hui : essai de description d'une pièce de Yoruba theatre." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0058.

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Cette thèse porte sur la description d'une forme théâtrale que les habitants du sud-ouest du Nigeria appellent le Yoruba théâtre. Le point focal de mon analyse est une pièce intitulée odu-ifa. Cette pièce a été représentée le 12 février 1998 au national théâtre à Lagos. Ce genre théâtral représente sur scène des motifs littéraires tirés de la mythologie yoruba. Odu-ifa est le lieu de la production d'une construction identitaire. Cette construction est inhérente au nationalisme culturel yoruba. Cette construction relève d'une fiction du type culture. Elle est le résultat d'un certain assemblage de la mémoire collective qui est lié à l'élaboration d'un récit de type historique. L’objectif de cette rhétorique est de rendre légitime le statut d'une bourgeoise locale et les frontières d'un état indépendant (ou d'une région à l'intérieur de la fédération nigériane). Le Yoruba théâtre est cependant une forme instable. L’expression paroxystique en est la dérive accidentelle d'un jeu d'acteur en transe de possession. Cet événement (rare mais possible) révèle la complexité de l'organisation sociale yoruba. Il devient ainsi possible de décrire un aspect du fonctionnement de cette société en soulignant le type de travail culturel qui y est à l'oeuvre. Celui-ci répond à une "logique" qui évolue a l'intérieur d'un système contingent de contraintes.
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Weisser, Gabriele. "Das Königtum der O̧wo̧-Yoruba zwischen Geschichte und Mythologie." Hamburg Kovač, 2004. http://d-nb.info/986437883/04.

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5

Hounton, Jean-Baptiste. "Le mythe de Sakpata au Bénin : approches littéraire, sémiotique et sociologique." Paris 4, 1995. http://www.theses.fr/1995PA040203.

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Notre étude est destinée aux jeunes lecteurs béninois ainsi qu'aux étrangers pour leur permettre de comprendre l'univers des mythes africains à travers un mythe particulier: un mythe fondateur connu dans toute la région du golfe du Benin, sous le nom de Sakpata, divinité de la terre. Le récit mythique : alors que le monde se présentait sous la forme d'une calebasse et que sa création n'était pas encore achevée, le créateur envoya l'un de ses ministres, Sakpata, pour parfaire la construction de la terre et pour la gouverner. Sakpata travailla à la fondation (de la célèbre cité) d'Ile-Ife considérée comme le berceau de l'humanité et pays de référence de nombreux peuples dans cette partie de l’Afrique. Devenue très vieux et abandonné par ses enfants, il se métamorphosa alors en une termitière habitée par un serpent. Sa signification : ces deux éléments - la termitière et le serpent - symbolisent ensemble la divinité de la terre qui, elle-même représente le couple primordial : l'homme et la femme. Ce récit met l'accent sur la responsabilité de l'homme qui doit entretenir de bons rapports avec la terre et avec ses semblables. De plus, il trace le chemin de la vodouisation de l'homme appelé à atteindre la vodouité : devenir lui-même dieu. Nous avons montré que ce mythe est le fondement des réalités socio-culturelles-économiques des peuples de cette région du monde
This study is meant for young Beninese students as well as foreign readers, to help them to imagine the world of African mythology through a particular example. We have studied a cosmogonical myth, which is very well known in the whole region of Beninese coast. Its name is Sakpata: the god of earth. The mythical story: when the world was still in the shape of a gourd and it was not totally created, the creator send one of his ministers named Sakpata to achieve the making of the earth and to rule it. Sakpata founded the famous city of Ile-Ife. When he become very old, his sons deserted him and then he turned himself into a white ant-hill (termitarium) inhabited by a snake. Its meaning: these two elements together,- the white ant-hill and the snake-, go to make the god of earth, who is himself the symbolical representation of the original couple: the man and the woman. This myth constitutes the foundations of the societies and their economical and cultural realities, among the peoples in this area
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Books on the topic "Yoruba Mythology"

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Ecún, Obá. Ita: Mythology of the Yoruba religion. Miami, FL: Obaecun Books, 1989.

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Ecun, Oba. Ita: Mythology of the Yoruba religion. Miami, FL: ObaEcun Books, 1996.

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Prandi, J. Reginaldo. Mitologia dos orixás. [São Paulo, Brazil]: Companhia das Letras, 2001.

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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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Artero, Onà. A criação da terra e do homem: Releitura da história e mitologia yorubá. Porto Alegre [Brazil]: Libretos, 2014.

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Ogundipe, Ayodele. Èșù Elegbára: Change, chance, uncertainty in Yorùbá mythology. Ilorin, Kwara State: Kwara State University Press, 2012.

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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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Oluwole, Sophie B. African myths and legends of gender. Lagos, Nigeria: Ark Publishers, 2014.

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Castrillo, Luis Diáz. Tratados de Oggún y Oshosi. Caracas, Venezuela: Ediciones Orunmila, 2005.

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