By Gordon Collier
This factor of Matatu offers state-of-the-art reviews of up to date Nigerian literature, a range of brief fiction and poetry, and more than a few essays on numerous subject matters of political, creative, socio-linguistic, and sociological curiosity. Contributions on theatre concentrate on the idiot as dramatic personality and at the feminist theatre of exclusion (Tracie Uto-Ezeajugh). numerous essays research the poetry of wish Eghagha and the Delta author Tanure Ojaide. experiences of the prose fiction of Chinua Achebe, Tayo Olafioye, Uwem Akpan, and Chimamanda Adichie are complemented through a looking divulge of the exploitation of Ayi Kwei Armah at the a part of the metropolitan publishing international and through a up to date interview with the poet Jumoko Verissimo. conventional tradition is taken into account in articles on old websites in Ile-Ife, witchcraft in Etsako conflict, and the Awonmili girls s collective in Awka. Linguistically orientated stories reflect on political speeches, drug ads, and Yoruba anthroponyms. Performance-focused essays concentrate on Emirate courtroom spectacle (durbar), Yoruba drum poetry in modern media, gospel tune, indigenization and islamization of army tune, and the function of the filmmaker. Contributions of broader relevance take care of Islamic parts of Nigerian tradition, the decline of the tutorial process, and the socio-economic impression of acquisitive culture."
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Extra info for Focus on Nigeria: Literature and Culture
Towards the Decolonization of African Literature (Washington D C : Howard U P , 1983). Darah, Godini G. “The Political-Economic Factor in Urhobo Song-Poetry,” in Marxism in African Literature, ed. George M. Gugelberger (London: James Currey, 1985): 178–94. Ezenwa–Ohaeto. Contemporary Nigerian Poetry and the Poetics of Orality (Bayreuth African Studies 45; Bayreuth: Eckhard Breitinger, 1998). ——. “Funso Aiyejina and Tanure Ojaide,” in Perspective on Nigerian Literature, 1700 to the Present, ed. Yemi Ogunbiyi (Lagos: Lagos Guardian, 1988), vol.
He uses 14 Bill Ashcroft, “Interpolation and Post-Colonial Agency,” 58. Chinweizu, Jemie Onwuchekwa & Ihechukwu Madubuike. Towards the Decolonization of African Literature (Washington D C : Howard U P , 1983): 11–12. 16 Ode S. 2 (Spring 1995): 105. 17 Ogede, “Billets of Prose,” 106. 18 “Billets of Prose,” 66. 19 “Billets of Prose,” 69. ) 15 a Aesthetic Metamorphosis 43 myth and folklore to portray contemporary situations. Since myth and folklore are so often ‘earthed’ in direct, everyday language, Ojaide cannot but employ, as suggested by Tijan Sallah, the language of prose, which is in itself a technique the people’s poet employs to reach his audience with his unbottled divination.
Smouldering Charcoal (Oxford: Heinemann, 1992). a O GAGA O KUYADE ————— º Aesthetic Metamorphosis Oral Rhetoric in the Poetry of Tanure Ojaide ABSTRACT The writer’s imaginative craft is usually inspired and shaped by the environment s/he hails from. This in turn gives room for constant communication between the creative mind and the immediate physical social world; the environment becomes a determinant of the writer’s experiences. The influence of the Urhobo oral tradition on the poetic corpus of Tanure Ojaide is remarkable.