Art, Dialogue and Outrage
.
Philip Brockbank, “Blood and Wine: Tragic Ritual from Aeschylus to
Soyinka.”
Oyin Ogunba, “Traditional African Festival Drama,” in Oyin Ogunba and
Abiola Irele (eds.),
Theatre in Africa
, Ibadan, Nigeria: University of Ibadan
Press,
.
Peter Brook, “Introduction,” Peter Weiss,
Marat-Sade
, New York: Atheneum,
.
Press Release, Swedish Academy, in
Black American Literature Forum
, vol.
,
no.
(Fall
).
Chinua Achebe,
Things Fall Apart
, (Expanded Edition with Notes), London:
Heinemann,
(
),
.
Peter Nazareth,
Literature and Society in Modern Africa
, Nairobi, Kenya: East
African Literature Bureau,
,
–
.
The point has to be made that the original N´egritudists, because of the
profound ideological perplexity caused by their peculiar situation, were
uncritically extrapolating animist sentiments and tenets in their raptures
over an intuitive oneness of black Africans with the rhythm of the cos-
mos, the dead and the earth. Some, like Cesaire wrote great poetry,
ani-
mist
poetry because the animist universe is a hall of mirrors throwing back
reduplications of the image of the one essential unity. Let the metaphor
stand: the reduplicated images are however, mere reflections, mere shad-
ows and our willed animists compounded their
psychological
alienation as
uprooted intellectuals blanched in the lyc´ees and academies of Europe
with the
ideological
alienation of erecting animism as a vehicle of racial
politics.
Here is a contemporary philosophical statement of this point: “Carried
far enough, the symbolic design of the factory as the basic framework of
understanding our world and our actions within it leads us back, partly,
to the recovery of the symbolic design of nature – that which “resists”
being transformed to our specifications. We are in the process of shifting
the symbolic designs of our civilization from the basic framework of the
factory a little closer to the basic framework of nature. In this sense, and in
this sense only, am I willing to accept the notion of “post-industrial society.”
Vytautas Kavolis, “Notes on Post-Industrial Culture,”
Arts in Society
, vol.
,
no.
(Fall-Winter
),
.
Wondrous tales are here remembered from my own childhood of forest
ghommids, imps, etc., who flee and retreat from the laying of railroad tracks
and highways through the forests, though not before allegedly making costly
Notes to pages
–
exactions by way of causing fatal accidents, fevers and even insanity among
the workers wreaking the “wound” of progress on the forests.
Christopher Caudwell,
Studies and Further Studies in a Dying Culture
, New York:
Monthly Review Press,
,
.
Lucy Mair,
New Nations
, University of Chicago Press,
.
Ronald Bryden, “The Asphalt God,” in Gibbs,
Critical Perspectives on Wole
Soyinka
,
.
Joachim Fiebach, “Wole Soyinka and Heine Muller: Different Cultural Con-
texts, Similar Approaches,” in Jeyifo,
Do'stlaringiz bilan baham: |