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|Title: ||Wole Soyinka‘s Drama: A Model of Cultural Representation|
|Authors: ||Al-Tuwaijri, Hala Maziad|
Kutrieh, Prof. Ahmed Ramez
|Keywords: ||Wole Soyinka Drama|
|Issue Date: ||1-Feb-2011 |
|Abstract: ||This study examines the dramaturgy of the Nigerian Nobel Laureate, Wole Soyinka as a model of an authentic discourse of cultural representation. It has four parts: the first part illustrates the epistemological background of the issue of representation in general, and the representation of the African identity in particular. The second part examines Soyinka’s writings as a system based on his theory of "self-apprehension," and therefore, asserts its reliability and credibility as an authentic system of cultural representation. The third part delves into the technical details of Soyinka’s dramaturgy as his chosen milieu for presenting his culture. Finally, the fourth part analyzes the components of Soyinka’s unique concept of tragedy in relation to the relationship between Western and African theatrical arts.
In the introduction, the study discusses the epistemological background of representation in reference to the theories of colonial discourse developed by Edward Said in Orientalism. Then it moves on to examine the 1950s movement of Negritude—established and developed by African intellectuals from the African Diaspora—as a system of representation that was dominated by the colonial discourse of power. Afterwards, the chapter addresses Soyinka’s response to Negritude as the foundation from which he developed his theory of "self-apprehension." From there, the chapter elicits Soyinka’s view of cultural
representation in relation to his proposed theory of "self-apprehension." Finally, as an introductory chapter, it draws a general outline of individual chapters in the dissertation, and their premises regarding the core issue of Soyinka’s drama as a model of cultural representation. The first chapter, which is entitled “A Nigerian Voice,” starts from Soyinka’s theory of "self-apprehension" to discuss the mainstream of his writings. The chapter then comments on the trajectory of Soyinka’s dramaturgy in relation to its linear relationship to his immersion in the socio-political changes in Nigeria. In the second chapter, entitled “A Successful Blend,” the study progresses to examine techniques Soyinka implemented to blend traits from Yoruba theatre with elements from Western theatrical tradition. The purpose of this chapter is to highlight Soyinka’s approach to represent Yoruba culture and theatrical tradition via the milieu of drama. In the third chapter, entitled “Soyinka and the Yoruba Concept of Tragedy,” the study addresses Soyinka’s unique concept of tragedy. Soyinka developed his tragedy from a combination of a Yoruba-oriented essence of the tragic action with a Classical-based frame. The chapter is composed of two parts, the first part synthesizes Soyinka’s theory of tragedy; and the second part examines Soyinka’s play, Death and the King’s Horseman, as a practical manifestation of his theory of tragedy. Finally, the conclusion knits all the threads of the individual chapters, and asserts the main premise of this study on the dramaturgy of Wole Soyinka as a model of an authentic cultural representation.|
|Appears in Collections:||College of Arts|
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