Scars of Conquest/masks of Resistance: The Invention of Cultural Identities in African, African-American, and Caribbean Drama
Oxford University Press, 1995 - Всего страниц: 196
This original work redefines and broadens our understanding of the drama of the English-speaking African diaspora. Looking closely at the work of Amiri Baraka, Nobel prize-winners Wole Soyinka and Derek Walcott, and Ntozake Shange, the author contends that the refashioning of the collective cultural self in black drama originates from the complex intersection of three discourses: Eurocentric, Afrocentric, and Post-Afrocentric.
From blackface minstrelsy to the Trinidad Carnival, from the Black Aesthetic to the South African Black Consciousness theatres and the scholarly debate on the (non)existence of African drama, Olaniyan cogently maps the terrains of a cultural struggle and underscores a peculiar situation in which the inferiorization of black performance forms is most often a shorthand for subordinating black culture and corporeality.
Drawing on insights from contemporary theory and cultural studies, and offering detailed readings of the above writers, Olaniyan shows how they occupy the interface between the Afrocentric and a liberating Post-Afrocentric space where black theatrical-cultural difference could be envisioned as a site of multiple articulations: race, class, gender, genre, and language.
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Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities ...
Ограниченный просмотр - 1995
aesthetic African drama African world African-American Afrocentric American Amiri Baraka argued articulation artistic audience Autobiography of LeRoi black cultural identity black drama black woman bohemian camboulay Caribbean carnival challenge character chthonic Cited colonial colonialist colored girls combat breath conception constitutes creative Creole critical cultural identity cultural nationalist dance Death decrudin Derek Walcott Dialogue difference dominant dramatists Dream English essay Eurocentric Eurocentric discourse European expressive identity Fanon Femi Osofisan Frantz Fanon gender genre hegemonic Hountondji ideological indigenous insists Jeyiſo King’s Horseman language LeRoi Jones literary Literature Makak Masks Motion of History mulatto Muse of History Negritude Negro Ntozake Shange Obatala Ogun Olunde oppression Osofisan Pilkings play poem poet poetic poetry political post-Afrocentric practice race representation revolutionary ritual Shange’s slaves social society Sollors space stage structure struggle subjection Theatre theatrical tion tradition tragedy tragic Trinidad Carnival Trinidad Guardian Twilight Says West Indian Western Wole Soyinka women writes Yoruba
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