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Divided into three parts, Introduction to Yoruba Philosophy, Religion and Literature is a pyramid of Yoruba past and the present. In his search for the imprints of his antecedents, Ogunyemi has assembled a number of papers in which the entire universe seemed to have been lle-Ife's backyard. This is a useful book for anyone who has been touched by the winds of dispersal and multi-cultural folk memory, especially faculty members teaching African/African American Studies.
"African Religions and Philosophy" is a systematic study of the attitudes of mind and belief that have evolved in the many societies of Africa. In this second edition, Dr Mbiti has updated his material to include the involvement of women in religion, and the potential unity to be found in what was once thought to be a mass of quite separate religions. Mbiti adds a new dimension to the understanding of the history, thinking, and life throughout the African continent. Religion is approached from an African point of view but is as accessible to readers who belong to non-African societies as it is to those who have grown up in African nations. Since its first publication, this book has become acknowledged as the standard work in the field of study, and it is essential reading for anyone concerned with African religion, history, philosophy, anthropology or general African studies.
For upwards of 25 years, Yemi D. Prince (also known as Yemi D. Ogunyemi) has systematically devoted himself to the education, research and reason of Creative Writing and from Creative Writing to Creative Thinking and from Creative Thinking to Yoruba narrative, cultural, folk philosophy. On realizing that Creative Thinking has become his area of focus and interest, he succeeds in cultivating big ideas, combining them with his life-long experiences in the Humanities, transforming them into new ways of writing, thinking or reasoning. (Some of his big ideas have led to the publication of booklets such as Yoruba Idealism, We Should All Be Philosophers, The Artist-Philosophers in Yoruba land, Codes of Morality and Pursuit of Wisdom.) Thus his big ideas have helped him separate Yoruba folk philosophy from Yoruba autochthonous religion. With his love for big ideas, born out of Creative Thinking and Critical Thinking, he has been able to put a new face on Yoruba Philosophy.
Divining the Self weaves elements of personal narrative, myth, history, and interpretive analysis into a vibrant tapestry that reflects the textured, embodied, and performative nature of scripture and scripturalizing practices. Velma Love examines the Odu—the Yoruba sacred scriptures—along with the accompanying mythology, philosophy, and ritual technologies engaged by African Americans. Drawing from the personal narratives of African American Ifa practitioners along with additional ethnographic fieldwork conducted in Oyotunji African Village, South Carolina, and New York City, Love’s work explores the ways in which an ancient worldview survives in modern times. Divining the Self also takes up the challenge of determining what it means for the scholar of religion to study scripture as both text and performance. This work provides an excellent case study of the sociocultural phenomenon of scripturalizing practices.
A poetic ‘voice’ scans the rhythm of academic research, telling of the encounter with odún; then the voice falls silent. What is then raised is the dust of a forgotten academic debate on the nature of theatre and drama, and the following divergent standpoints of critical discourses bent on empowering their own vision, and defining themselves, rather, as counterdiscourses. This, the first part of the book: a metacritical discourse, on the geopolitics (the inherent power imbalances) of academic writing and its effects on odún, the performances dedicated to the gods, ancestors, and heroes of Yorùbá history. But odún: where is it? and what is it? And the ‘voice’? The many critical discourses have not really answered these questions. In effect, odún is many things. To enable the reader to see these, the study proceeds with an ‘intermezzo’: a frame of reference that sets odún, the festival, in its own historico-cultural ecoenvironment, identifying the strategies that inform the performance and constitute its aesthetic. It is a ‘classical’ yet, for odún, an innovative procedure. This interdisciplinary background equips the reader with the knowledge necessary to watch the performance, to witness its beauty, and to understand the ‘half words’ odún utters. And now the performance can begin. The ‘voice’ emerges one last time, to introduce the second section, which presents two case studies. The reader is led, day by day, through the celebrations –odún edì, Morèmi’s story, and its realization in performance; then confrontation by the masks of the ancestors duing odún egúngún (particularly as held in Ibadan). The meaning of odún becomes clearer and clearer. Odún is poetry, dances, masks, food, prayer. It is play (eré) and belief (ìgbàgbó). It is interaction between the players (both performers and spectators). It is also politics and power. It contains secrets and sacrifices. It is a reality with its own dimension and, above all, as the quintessential site of knowledge, it possesses the power to transform. In short, it is a challenge – a challenge that the present book and its voices take up.
“The encyclopedia gives a complex, yet detailed, presentation of the Yorùbá, a dominant ethnic group in West Africa . . . an invaluable resource.” —Yoruba Studies Review The Yoruba people today number more than thirty million strong, with significant numbers in the United States, Nigeria, Europe, and Brazil. This landmark reference work emphasizes Yoruba history, geography and demography, language and linguistics, literature, philosophy, religion, and art. The 285 entries include biographies of prominent Yoruba figures, artists, and authors; the histories of political institutions; and the impact of technology and media, urban living, and contemporary culture on Yoruba people worldwide. Written by Yoruba experts on all continents, this encyclopedia provides comprehensive background to the global Yoruba and their distinctive and vibrant history and culture. “Readers unfamiliar with the Yoruba will find the introduction a concise and valuable overview of their language and its dialects, recent history, mythology and religion, and diaspora movements . . . Highly recommended.” —Choice
This book connects traditional religions to the thriving religious activity in Africa today.
Previous scholars of If have conveyed an impression that If is a characteristic social institution with only religious, ethnographical and sociological significance. In fact, If has been greatly misconceived as a mere religious and mythic discourse, devoid of any meaningful philosophical import. There is also the misconception that If is now largely anachronistic. In If in Yor b Thought System, the author shows that an adequate understanding of a text requires a transition from the manifest to the latent meaning and, therefore, analyses the If literary corpus with a view to identifying the aspects of If that are of philosophic relevance. He shows that fundamental philosophical issues, including nature of reality, knowledge, human conduct are embedded in If . With reflective interpretation of an appreciable number of If verses, the author also examines the utilitarian functions of If, offers good insight into important political ideas and values that are relevant to much of the political challenges in contemporary society and how scientific and technological development can be enhanced within the context of the Yor b oral tradition. In all, this book shows that the If literary corpus, as a complete philosophy, has the prospect of providing a firm ground for the resolution of some of the pressing problems confronting contemporary societies. This book is part of the African World Series, edited by Toyin Falola, Jacob and Frances Sanger Mossiker Chair in the Humanities, University of Texas at Austin.
A rich ethnography of lived religious experiences in Lagos, offering a unique look at religious pluralism in Nigeria's biggest city.
The Birth of a Child in a Fishing Boat is redolent with creativity, weaving folklore and faith into literary and historical memoir. It is a brilliant synthesis of collective historiography and personal autobiography. While dense with episodes of the author's fascinating life in literature, Yoruba worldview sits at its heart, and spiritual, folkloric, creative and literary philosophies provide the text its backbone. Yoruba identity is disclosed convivial and shared. This is expansive knowledge and excitement.