Perspectives on Wole SoyinkaUniv. Press of Mississippi |
Des de l'interior del llibre
Resultats 1 - 5 de 55.
Pàgina xviii
... God when ( these ) " powers of event" achieve their own logic .... So I make allowance for that , because my view of reality is that it is at once simple and complex .... Talking of this ambivalence of the writer , to simplify it by ...
... God when ( these ) " powers of event" achieve their own logic .... So I make allowance for that , because my view of reality is that it is at once simple and complex .... Talking of this ambivalence of the writer , to simplify it by ...
Pàgina xx
... god of wealth came on a visit to his homestead dressed in the rags of poverty . With intuition , with insight , and with grace , Elesin welcomes and fetes the disguised deity and thereby becomes a beneficiary of the largess of the god ...
... god of wealth came on a visit to his homestead dressed in the rags of poverty . With intuition , with insight , and with grace , Elesin welcomes and fetes the disguised deity and thereby becomes a beneficiary of the largess of the god ...
Pàgina xxi
... god of revolution chose to make a habitation in Soyinka's writings , not in the familiar mask of the righteous judge and executioner of the unjust , the exploiters and the despots , but in the confounding and contradictory doubleness of ...
... god of revolution chose to make a habitation in Soyinka's writings , not in the familiar mask of the righteous judge and executioner of the unjust , the exploiters and the despots , but in the confounding and contradictory doubleness of ...
Pàgina xxii
... Gods : A Study of the 1mportance of Yoruha Myths and Religious 1deas to the Writing of Wole Soyinka , University of Stockholm : 1983 , and Ketu Katrak , Wole Soyinka and Modern Tragedy : A Study of Dramatic Theory and Practice ...
... Gods : A Study of the 1mportance of Yoruha Myths and Religious 1deas to the Writing of Wole Soyinka , University of Stockholm : 1983 , and Ketu Katrak , Wole Soyinka and Modern Tragedy : A Study of Dramatic Theory and Practice ...
Pàgina 20
Heu assolit el vostre límit de visualització per a aquest llibre.
Heu assolit el vostre límit de visualització per a aquest llibre.
Continguts
3 | |
Poetics and the Mythic Imagination | 27 |
The Foxs Dance | 41 |
Being the Will and the Semantics of Death | 62 |
Blood and Wine | 77 |
Soyinka and His Radical Critics | 91 |
Wole Soyinka and the Tropes of Disalienation | 104 |
Wole Soyinka and Heine Muller | 128 |
Myth Literature and the African World | 157 |
Wole Soyinka and the Living Dramatist | 172 |
Wole Soyinka and the Atunda Ideal | 187 |
The Space of Transformations | 201 |
Index | 237 |
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Frases i termes més freqüents
abyss aesthetic African literature African World African writers ambiguity Amos Tutuola articulated artistic Atunda audience Bacchae character Chinua Achebe colonial complexity conception consciousness contemporary context creative Dance death Dionysos discourse drama Ebla Elesin Elesin Oba Eman Eman's embodiment English essence Euripides European expression Fagunwa Forests Fourth Stage gods Heiner Muller human Ibadan Idanre ideological Ifada imagination individual Jeyifo King's Horseman language liminality literary London Madmen and Specialists meaning metaphor metaphysical modern African myth mythic mythopoesis nation Negritude Ngugi Ngugi wa Thiong'o Nigerian Niyi Osundare novel Obatala Ogun Ogun's perspective play's poem poet poetry political reality relationship ritual suicide role sense Shakespeare significance social society Soyinka's critical Soyinka's essays Soyinka's plays Soyinka's writings spiritual Strong Breed structure suggest symbolic texts theatre theoretical theory tion Tiresias tradition tragedy tragic transition trope Tutuola University vision Wole Soyinka women Yoruba culture Yoruba language Yoruba mythology
Passatges populars
Pàgina 228 - As substitute, it is not simply added to the positivity of a presence, it produces no relief, its place is assigned in the structure by the mark of an emptiness.
Pàgina 81 - He was oppressed, and he was afflicted, yet he opened not his mouth: he Is brought as a lamb to the slaughter, and as a sheep before her shearers is dumb, so he openeth not his mouth. He was taken from prison and from Judgment: and who shall declare his generation? for he was cut off out of the land of the living: for the transgression of my people was he stricken.
Pàgina 61 - And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment With this regard their currents turn awry And lose the name of action.
Pàgina 104 - The average published writer in the first few years of the post-colonial era was the most celebrated skin of inconsequence to obscure the true flesh of the African dilemma.
Pàgina 73 - Ifa oracular wisdoms that a rupture is often simply one aspect of the destructive-creative unity, that offences even against nature may be part of the exaction by deeper nature from humanity of acts which alone can open up the deeper springs of man and bring about a constant rejuvenation of the human spirit. Nature in turn benefits by such broken taboos, just as the cosmos does by demands made upon its will by man's cosmic affronts.
Pàgina 78 - ... live in. We did it for them. It was all for their own common good. What did it benefit me whether the man lived or died. But did you see them?
Pàgina 55 - Deep. Silent but deep. Oh my friend, beware the pity of those that have no tongue for they have been proclaimed sole guardians of the Word. They have slept beyond the portals of secrets. They have pierced the guard of eternity and unearthed the Word, a golden nugget on the tongue.
Pàgina 103 - Thus, it may be seen that if imperialist domination has the vital need to practice cultural oppression, national liberation is necessarily an act of culture.
Pàgina 175 - This is the last Our feet shall touch together We thought the tune Obeyed us to the soul But the drums are newly shaped And stiff arms strain On stubborn crooks, so Delve with the left foot For ill-luck; with the left Again for ill-luck; once more With the left alone, for disaster Is the only certainty we know.