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Never less than profound, Nobel Laureate Wole Soyinka's fierce and provocative contribution to the debate on multiculturalism brings together 19 iconoclastic essays on African, European, and American literature, culture, and politics. "Unquestionably Africa's most versatile writer".--New York Times
Soyinka's representation of postcolonial African identity is re-examined in the light of his major plays, novels and poetry to show how this writer's idiom of cultural authenticity both embraces hybridity and defines itself as specific and particular. For Soyinka, such authenticity involves recovering tradition and inserting it in postcolonial modernity to facilitate transformative moral and political justice. The past can be both our enabling future and our nemesis. In a distinctive approach grounded in cultural studies, Postcolonial Identity in Wole Soyinka locates the artist's intellectual and political concerns within the broader field of postcolonial cultural theory, arguing that, although ostensibly distant from mainstream theory, Soyinka focuses on fundamental questions concerning international culture and political identity formations - the relationship between myth and history / tradition and modernity, and the unresolved tension between power as a force for good or evil. Soyinka's treatment of the relationship between individual selfhood and the various framing social and collective identities, so the book argues, is yet another aspect linking his work to the broader intellectual currents of today. Thus, Soyinka's vision is seen as central to contemporary efforts to grasp the nature of modernity. His works conceptualize identity in ways that promote and modify national perceptions of 'Africanness', rescuing them from the colonial and neocolonial logic of cultural denigration in a manner that fully acknowledges the cosmopolitan and global contexts of African postcolonial formation. Overall, what emerges from the present study is the conviction that, in Soyinka's work, it is the capacity to assume personal and collective agency and the particular choices made by particular subjects at given historical moments that determine the trajectory of change and ultimately the nature of postcolonial existence itself. Postcolonial Identity in Wole Soyinka is a major and imaginative contribution to the study of Wole Soyinka, African literature, and postcolonial cultural theory and one in which writing and creativity stand in fruitful symbiosis with the critical sense. It should appeal to Soyinka scholars, to students of African literature, and to anyone interested in postcolonial and cultural theory.
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.
Radical Humanism and Generous Tolerance articulates the religious ideas and vision of Wole Soyinka in his non-fiction writings. It also analyzes Soyinka's response to religious violence, terror, and the fear of religious imperialism. The book suggests the theoretical notions of radical humanism and generous tolerance best summarize Soyinka's religious ideals and religious piety. Through a close reading of Soyinka's religious works, the book argues that African traditional religions could be used as a catalyst to promote religious tolerance and human solidarity, and that they may also contribute to the preservation of life, and the fostering of an ethics of care and relationality. Soyinka brings in conversation Western Humanist tradition and African indigenous Humanist tradition for the sake of the world, for the sake of global shalom, and for the sake of human flourishing.
Images of loss and yearning played a crucial role in literary texts written in the later part of the twentieth century. Despite deep cultural differences, novelists from Africa, the Caribbean, Great Britain, and the United States share a sense that the economic, social, and political forces associated with late modernity have evoked widespread nostalgia within the communities in which they write. In this original and wide-ranging study, John J. Su explores the relationship between nostalgia and ethics in novels across the English-speaking world. He challenges the tendency in literary studies to characterise memory as positive and nostalgia as necessarily negative. Instead, this book argues that nostalgic fantasies are crucial to the ethical visions presented by topical novels. From Jean Rhys to Wole Soyinka and from V. S. Naipaul to Toni Morrison, Su identifies nostalgia as a central concern in the twentieth-century novel.
The essays in this volume hold up for scrutiny, in diverse ways, many facets of the artistic output of Breyten Breytenbach, the Afrikaans poet who first became a public figure in apartheid South Africa – his poetry, his fictional and non-fictional prose, his plays, and his painting and drawing. The approaches adopted by the authors of the essays range from the largely theoretical to the more popular forms of the interview and the review. Collectively, they represent a kaleidoscope of approaches, viewpoints and foci; their various critical and analytical colorations make up a timely statement about the centrality of this important artist’s creativity, engagement, ‘exile’ and belongness to a land once impacting under its own contradictions and now experiencing an efflorescence that still harbours the paradoxes that Breytenbach’s protean craft uncompromisingly anatomizes. Contributors are: Ampie Coetzee, J.M. Coetzee, Judith Lütge Coullie, Ileana Dimitriu, J.U. Jacobs, Tim Trengove, Jones, Erhard Reckwitz, Sandra Saayman, Marilet Sienaert, Lisbe Smuts, Louise Viljoen, Andries Visagie.
Examines the major paradigms that have influenced modern English-speaking theater
This collection of papers results from the 15th annual meeting of the African Literature Association which was held in Dakar, Senegal, and was the first such meeting to be held in Africa. Topics covered include approaches and literary theory, language and history, thematic analysis, and literature in the African Diaspora.
Across humanities disciplines, public scholarship brings academics and community members and organizations together in mutually-beneficial partnership for research, teaching, and programming. While the field of publicly engaged humanities scholarship has been growing for some time, there are few volumes that have attempted to define and represent its scope. The Routledge Companion to Public Humanities Scholarship brings together wide-ranging case studies sharing perspectives on this work, grounded in its practice in the United States. The collection begins with chapters reflecting on theories and practices of public humanities scholarship. The case studies that follow are organized around six areas of particular impact in public humanities scholarship: Informing contemporary debates; amplifying community voices and histories; helping individuals and communities navigate difficult experiences; preserving culture in times of crisis and change; expanding educational access; and building and supporting public scholarship. The Companion concludes with a glossary, introducing select concepts. Taken together, these resources offer an overview for students and practitioners of public humanities scholarship, creating an accessible vocabulary rooted in the practices that have so advanced academic and community life. Although drawing on case studies from the US, these examples offer perspectives and insights relevant to public humanities around the world. This book will be of interest to anyone working within the public humanities or wanting to make their work public and engage with wider communities.