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Journal articles on the topic 'Yoruba Mythology'
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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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Panda, Asit. "Transcending Boundaries: Wole Soyinka’s Fusion of African and Western Dramatic Traditions in A Dance of the Forests." International Journal of English Language, Education and Literature Studies (IJEEL) 3, no. 1 (2024): 37–40. http://dx.doi.org/10.22161/ijeel.3.1.5.
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The objective of this research article is to investigate the innovative fusion of Western and indigenous performance traditions that Wole Soyinka employs in his celebrated tragedy, A Dance of the Forests. This study identifies specific indigenous and European forms and performance idioms that contribute to Soyinka's tragedy through an in-depth analysis of the play's structure, themes, and performance techniques. This article emphasises Soyinka's incorporation of Western theatrical devices and traditions, as well as Yoruba mythology and traditional performance elements such as percussion, dance, music, and song. The reclamation and affirmation of precolonial indigenous theatrical forms and performance idioms make a substantial contribution to the assertion of indigenous identity. Soyinka's use of dramaturgy in A Dance of the Forests exemplifies the theatre's capacity to transcend artistic and cultural limitations. This article positions Soyinka's dramatic work as a response to the asserted dominance of Western modernity, reflecting a post-colonial society's endeavour to establish a legacy of alternative modernity in the artistic sphere.
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Tella, Abiola Opemipo. "Traditional Rain Control Practice Through Indigenous Knowledge System and Technology Among Ikire People of Osun State, Southwest Nigeria." International Journal of Social Science Research and Review 5, no. 9 (September 11, 2022): 155–65. http://dx.doi.org/10.47814/ijssrr.v5i9.451.
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This paper aims to trace the history of rain prevention, and examine for documentation, the rituals involved. Traditional rain control in this context is considered as a process involving the making and preventing of rain to modify atmospheric condition of a place using Indigenous Knowledge and Technology (IKT). Rain control ritual is an age-long indigenous knowledge and technology aimed at influencing weather condition. As part of a broadened African society, the art of preventing rainfall is a part of the heritage resources practised by the people of Ikire in Osun State. This ritualistic art which is put to use mainly during socio-cultural gatherings such as festivals, feasts, burials, weddings, and naming ceremonies is called òjòwíwó or òjòmímó in local parlance. The help of rain doctors is sought by people who want to carry out any of these activities during rainy seasons to avoid disruption. Ethnographic method was used to elicit information. Research findings traced the art of rain prevention to Orunmila a god in Yoruba mythology. The rituals involved the use of the details of IKT which is significant in the response of the people to the ever-changing climate
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Oyewo, Adewale Christopher, and Oluwafunminiyi Wasiu Raheem. "Twins Seven-Seven: The Glocal Framing of an International Artist in Memorial Pages." International Journal of Current Research in the Humanities 27, no. 1 (April 30, 2024): 259–72. http://dx.doi.org/10.4314/ijcrh.v27i1.17.
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On 16 June 2011, the foremost Nigerian visual artist, Taiwo Osuntoki, popularly referred to as Twins Seven-Seven, passed away. His passing, as is common with personalities of that nature, elicited some interesting memorials across the world. Family members, close friends, admirers, art collectors and colleagues in the art community in Nigeria and across the globe flooded the art space with glowing tributes, lauding an iconic figure whose works were known to reflect the embodiment of Yoruba folklore, mythology, spiritual, ghostly and invisible worlds. This article draws on a descriptive analysis of memorials in selected local and international print media and academic outlets (journals). The intention is primarily to identify and examine some of the memorials and then engage them in ways that help to understand how Twins Seven-Seven’s image was conceived in global as well as local contexts. Given his complex and multipersonality, we ask how memorials shape the meanings that could be associated with Twins Seven-Seven’s life generally. Lastly, the paper is a fitting tribute to one of Africa’s greatest postcolonial artists, whose passing now marks more than a decade.
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Joseph, Sunu Rose, and Shashikantha Koudur. "Decolonial Myths and Demi-gods of the Tropics: The More-than-Human Worlds of Manasa and Olokun." eTropic: electronic journal of studies in the Tropics 22, no. 1 (July 3, 2023): 155–74. http://dx.doi.org/10.25120/etropic.22.1.2023.3980.
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In response to the current age of the Anthropocene, Posthumanist studies explore multispecies' entanglements and encounters in order to move away from the colonial binaries that separate humans from the environment. Adding to these studies, this paper explores the role of mythology in decolonising the Westerncentric strategies of narration. Amitav Ghosh’s Gun Island and Rita Indiana’s Tentacle, envision the relationship of the human with other species against the deepening climate crisis, bringing to the fore the often-discounted discourses of cultural myths. In Gun Island, Manasa, the quintessential nagini is a folk deity of fear-based Nature worship from the Bay of Bengal, and an outsider to the established pantheon of Hindu gods. The Yoruba deity, Olokun, and his/her incarnations, move across the three time periods in Tentacle emerging as the saviour of the Caribbean islands. The novels reinterpret and re-evaluate the tropical Indigenous myths to implement alternate approaches of knowing and being in the world. This article seeks to explore how posthumanist and decolonial perspectives in these mythologies create new alliances that stretch across space, time, and species, symbolising the relationality of all life. The paper delves into the power of the mythical deities to highlight the existence of an interconnected network of human and more-than-human realms.
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Adeleke, Duro A. "Lessons from Yorùbá Mythology." Journal of Asian and African Studies 39, no. 3 (June 2004): 179–91. http://dx.doi.org/10.1177/0021909604049971.
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Adeniyi, Emmanuel. "Dispersion of the Yorùbá to the Americas: A Fatalist Hermeneutics of Orí in the Yorùbá Cosmos – Reading from Tutuoba: Salem’s Black Shango Slave Queen." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–19. http://dx.doi.org/10.32473/ysr.v5i1.2.130081.
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Studies in African Diaspora ofen privilege the transatlantic slavery, Columbus’ discovery of the New World, and African cultural codes in the Americas. To expand the scope of the studies, this article examines the metaphysical and ontological questions on the enslavement of the Yorùbá – an African ethno-nation whose members were condemned to slavery and servitude in the Americas during the inglorious transatlantic slave trade. I used metaphysical fatalism as a theoretical model to interrogate prognostications about dispersion of the Yorùbá from their matrix as expressed in their mythology. Being a predestining agent, I examined the role of orí (destiny) within the context of rigid fatalism and its textualisation in Prince Justice’s Tutuoba: Salem’s Black Shango Slave Queen. The article argues that the transatlantic enslavement of the Yorùbá is a fait accompli willed by their Supreme Deity. Tough traumatic, transatlantic slavery reworlded Yorùbá cultural codes, birthed the Atlantic sub-group of the ethno-nation, and aided the emergence of Yorùbá-centric religions in the New World.
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AFEJUKU, TONY E., and E. B. ADELEKE. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 47, no. 1 (August 22, 2016): 97–112. http://dx.doi.org/10.1163/18757421-90000397.
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Femi Osofisan belongs to the new breed of writers, inadequately referred to as ‘second generation’. An accomplished writer whose works include plays, poems, essays and novels, Osofisan is widely regarded as the most significant playwright in Africa after Soyinka. As a committed playwright, Osofisan focuses on the reappraisal of his immediate society and the challenges of living in this society. He calls attention to all that is undesirable in the politics, economy, and religion of contemporary Nigeria and asks for a change of attitude which, hopefully, will bring sanity to the country. One of the means by which Osofisan achieves his artistic objective is the use of myths and legends from Yorùbá mythology. Specifically, we shall show in this essay that Osofisan makes use of the myths of OEango and Èṣú and the legends of Môrèmi and Solarin as a means of thematic exploitation. By so doing, he creates a unique contemporary Nigerian theatre which other playwrights emulate and develop. Many Colours Make the Thunder King, Esu and the Vagabond Minstrels, Morountodun, and Who Is Afraid of Solarin? are used as illustrative texts.
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Afejuku, Tony E., and E. B. Adeleke. "Myths, Legends, and Contemporary Nigerian Theatre." Matatu 49, no. 1 (2017): 54–71. http://dx.doi.org/10.1163/18757421-04901004.
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Femi Osofisan belongs to the new breed of writers, inadequately referred to as the ‘second generation of writers’. An accomplished writer whose works include plays, poems, essays, and novels, Osofisan is widely regarded as the most significant playwright in Africa after Soyinka. As a committed playwright, Osofisan focuses on the reappraisal of his immediate society and the challenges of living in this society. He calls attention to all that is undesirable in the politics, economy, and religion of contemporary Nigeria and asks for a change of attitude which, hopefully, will bring sanity to the country. One of the means by which Osofisan achieves his artistic objective is the use of lore from Yorùbá mythology. Specifically, we shall show in this essay that Osofisan makes use of the myths of Ṣango and Èṣù and the legends of Môrèmi and Solarin as a means of thematic exploitation. By so doing, he creates a unique contemporary Nigerian theatre which other playwrights emulate and develop. We shall use Many Colours Make the Thunder King, Esu and the Vagabond Minstrels, Morountodun, and Who’s Afraid of Solarin? as our illustrative texts.
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Saylan, Özlem. "Luis Valdez’in Seçilmiş Oyunlarında Chicano Kültürü Yansımaları." Göç Dergisi 7, no. 1 (May 12, 2020): 55–76. http://dx.doi.org/10.33182/gd.v7i1.670.
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Luis Valdez, tarım işçilerinden oluşturduğu tiyatrosunun temellerini Chicano kültürünü referans alan üç sacayağı üzerine kurmuştur: daha çok politik içerik taşıyan doğaçlama kısa oyun anlamına gelen actos, Maya ve Aztek mitoloji ve efsanelerini yansıtan mitos ve de oyuna müzik, şarkı ve dans yorumu getiren corridos. Bir Chicano kimliği yaratıp, Chicanoların öz kültürleri ile bugünkü yaşamlarını içselleştirebilmeleri Valdez’in oyunlarında yer alan temaların en çok öne çıkanlarından birisidir. Bu makalede, Valdez’in, Zoot Suit, Bandido! ve I Don’t Have to Show You No Stinking Badges! isimli seçilmiş üç oyunu ele alınmıştır. Bu oyunların incelenme nedeni, her birinin bir yandan toplumdaki Chicano önyargısını hicvederken, diğer yandan oluşturulmaya çalışılan Chicano kimliğinin şekillenmesine yardımcı olmasıdır. Bu amaç doğrultusunda Valdez’in neredeyse tüm oyunlarında, en az ana karakter kadar sahnede varlığına işaret edilen Chicano olmak “düşünce”sinin, “eylem”e dönüşümündeki süreç irdelenmektedir. Hâlihazırda var olan Chicano kimliğinin ve Chicano topluluğunun varlığını reddeden kesime tanıtılması halinde “varlık,” bir olgu olmaktan çıkıp bir eyleme yani “olay”a dönüşür. Bu bağlamda, tiyatro okuruna/izleyicisine, Chicano Tiyatrosu’nun Amerikan Tiyatrosundaki yerini özellikle sosyokültürel ve politik mesajlarla göstermeye çalışıldığı gözlemlenmektedir. ABSTRACT IN ENGLISH Reflections of Chicano Culture in Selected Plays of Luis Valdez Luis Valdez established his theater consisting of farm workers on a trivet, taking Chicano culture as a reference: actos improvised short play with more political content, mitos reflecting Maya and Aztec mythology and legends, and corridos bringing music, song, and dance interpretation in play. Creating a Chicano identity and internalizing their mother culture and present lives is one of the outstanding themes in Valdez’s plays. This paper discusses three of Valdes’s selected plays, Zoot Suit, Bandido!, and I Don’t Have To Show You No Stinking Badges!. The reason why these plays are analyzed is that each of them helps to shape the Chicano identity, while satirizing the Chicano bias in society. For this purpose, in almost all of Valdez’s plays, the process of transforming the “idea” of being Chicano, which is indicated at least as much as the protagonist’s presence on the stage, into “action” of becoming Chicano is scrutinized. In the case of introducing the already-existing Chicano identity and community to those who deny its existence, “being” turns from being a phenomenon into an “action”. In this regard, it is observed that it is tried to exhibit Chicano Theater’s place in the American Theater especially with sociocultural and political messages.
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S. Osadola, O., O. M. Olofinsao, and I. O. Ajisafe. "FACT OR MYTHOLOGY - YORUBA AND BENIN HISTORICAL CORRELATION." International Journal of Research Publications 87, no. 1 (October 1, 2021). http://dx.doi.org/10.47119/ijrp1008711020212404.
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"Yoruba Cosmology and Mythology in Wole Soyinka’s The Road." International Journal of African and Asian Studies, October 2021. http://dx.doi.org/10.7176/jaas/76-08.
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Heinz, Sarah. "Revision as Relation: Adapting Parable in Chigozie Obioma’s The Fishermen." Adaptation, December 21, 2020. http://dx.doi.org/10.1093/adaptation/apaa039.
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Abstract This essay explores the connection between adaptation and parable in Chigozie Obioma’s debut novel The Fishermen (2015). Obioma’s adaptation of parable revises this narrative form as radically relational. This revision of parable is tied to an equally relational understanding of adaptive processes. Using parable as the frame for its complex mixture of Igbo and Yoruba mythology, Biblical stories, and Greek and Roman myth, among others, enables the novel to reinterpret all these sources in the context of postcolonial Nigeria. This process thereby challenges the belief that we can dispel colonial power structures by simply rejecting canonical stories and their discursive frameworks and it suggests, instead, a notion of identity as relational and transient. Ultimately, the novel proposes an ethics of relationality that can help to re-assess processes of revision and their political and cultural impact.
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BURLEY, MIKEL. "African religions, mythic narratives, and conceptual enrichment in the philosophy of religion." Religious Studies, March 11, 2020, 1–17. http://dx.doi.org/10.1017/s0034412520000086.
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Abstract Myths, or sacred narratives, have been underexplored in mainstream philosophy of religion, which has also had little to say about African indigenous religions. These lacunae impoverish the philosophy of religion by diminishing its coverage both of the range of human religious possibilities and of the diverse modes through which religious ideas and world-views are conveyed. With particular attention to Yorùbá religion, this article promotes and exemplifies a pluralistic narrative approach that draws upon mythology to facilitate philosophical reflection upon a wider array of religious traditions, for the dual purpose of doing conceptual justice to those traditions while also furthering the discipline's conceptual enrichment.