Andere Kunden interessierten sich auch für
![The Critical Life of Toni Morrison]( "The Critical Life of Toni Morrison")
The Critical Life of Toni Morrison147,99 €![Habitations of the Veil]( "Habitations of the Veil")
Habitations of the Veil115,99 €![Criminal Genius in African American and Us Literature, 1793-1845]( "Criminal Genius in African American and Us Literature, 1793-1845")
Criminal Genius in African American and Us Literature, 1793-1845104,99 €![Why Antislavery Poetry Matters Now]( "Why Antislavery Poetry Matters Now")
Why Antislavery Poetry Matters Now148,99 €![Black Atlas]( "Black Atlas")
Black Atlas123,99 €![Shakespeare and Minorities]( "Shakespeare and Minorities")
Shakespeare and Minorities167,99 €![I Know Why the Caged Bird Sings]( "I Know Why the Caged Bird Sings")
I Know Why the Caged Bird Sings22,99 €
Looking in detail at the works of Baraka, Soyinka, Walcott and Shange and their historical trajectories in black anti-Eurocentric discourses, Olaniyan offers a sophisticated reading of how these writers are preoccupied with the invention of a post-imperial cultural identity. Drawing on contemporary theory and cultural studies, Olaniyan provides a meticulous account of the social foundations of an important aesthetic form, the drama of the African diaspora.
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.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.