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| 001 | BRILL9789042026810 | ||
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_a9789042026810 _q(electronic book) |
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_z9789042026803 _q(print) |
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_a10.1163/9789042026810 _2DOI |
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| 035 | _a(OCoLC)559075763 | ||
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_aNL-LeKB _cNL-LeKB _erda |
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_aPN2993.1 _b.B67 2009eb |
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_aLIT004120 _2bisacsh |
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_a792.09669 _222 |
| 100 | 1 | _aBoscolo, Cristina. | |
| 245 | 1 | 0 |
_aỌdún : _bdiscourses, strategies, and power in the Yorùbá play of transformation / _cCristina Boscolo. |
| 264 | 1 |
_aAmsterdam ; _aNew York : _bRodopi, _c2009. |
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_a1 online resource (xxx, 337 pages) : _billustrations. |
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_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _2rdacarrier |
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| 490 | 1 |
_aCross cultures ; _v111 |
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| 504 | _aIncludes bibliographical references (p. 317-337). | ||
| 505 | 0 | 0 | _aPreliminary Material -- Bíi báun kợ I -- Yorùbá Theatre: An Introductory Outline -- Nigerian Theatre Criticism: ‘Dominant’ Issues -- Critical Discourses and Their Power -- Bíi báun kợ II -- Coordinates of an Interpretation -- Bíi báun kợ III -- Ọdún Edì -- Egúngún: The Power of the Ancestors -- Ààbó Óró… The Yorùbá Play of Transformation -- Glossary -- Bibliography. |
| 506 | _aAvailable to subscribing member institutions only. | ||
| 520 | _aA 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. | ||
| 546 | _aText in English; some passages in Yoruban with English translations. | ||
| 650 | 0 |
_aYoruba drama _xHistory and criticism. |
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_aMythology, Yoruba, in literature. _2fast |
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_aYoruba (African people) _xRites and ceremonies. _2fast |
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_aYoruba drama. _2fast |
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| 651 | 0 |
_aNigeria _vDrama _xHistory. |
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| 651 | 7 |
_aNigeria. _2fast |
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| 655 | 7 |
_aCriticism, interpretation, etc. _2fast |
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| 776 | 0 | 8 |
_iPrint version: _aBoscolo, Cristina. _tỌdún. _dAmsterdam ; New York : Rodopi, 2009 _z9789042026803 _w(OCoLC)518039696 |
| 830 | 0 |
_aCross/Cultures _v111. |
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| 830 | 0 | _aLiterature and Cultural Studies E-Books Online, Collection 2009, ISBN: 9789004357945. | |
| 856 | 4 |
_zDOI: _uhttp://dx.doi.org/10.1163/9789042026810 |
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_c16757 _d16757 |
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