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Erschienen in:
African Art and the Crisis of Poverty and Social Divisions in a Global Era Kapitel lesen Erstes Kapitel lesen

2018 | OriginalPaper | Buchkapitel

2. Criticism of African Art and Literature

verfasst von : Abdul-Rasheed Na’Allah

Erschienen in: Globalization, Oral Performance, and African Traditional Poetry

Verlag: Springer International Publishing

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Abstract

The author defines the new global bourgeois and proletariat aesthetics and identifies where oral literature attains a global position. This chapter concludes by establishing the place of Ilorin oral literature within the new global reality.

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Vorheriges Kapitel African Art and the Crisis of Poverty and Social Divisions in a Global Era
Nächstes Kapitel Ilorin Traditional Poetry in the Context of Bourgeois Aesthetics
Fußnoten
1
Chidi Amuta, The Theory of African Literature (London: ZED Books Ltd., 1989).
 
2
Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977) p. 109.
 
3
Bolaji Idowu, Olodumare: God in Yoruba Belief (London: Prederick A. Praeyer, Inc., 1963).
 
4
John Mbiti, African Religions and Philosophy (London: Heinemann Books Ltd., 1969).
 
5
Amuta, p. 14.
 
6
Solomon Iyasere, “African Oral Tradition—Criticism as Performance: A Ritual” African Literature Today No. 11, 1980.
 
7
Amuta, p. 15.
 
8
Ibid.
 
9
Ibid., p. 21.
 
10
Ibid.
 
11
Gerald Moore, “The Politics of Negritude” in Protest and Conflict in African Literature, Ed. Cosmo Pieterse and Donald Munro (London: Heinemann, 1969) pp. 26–42.
 
12
Alain Richard, Theatre and Nationalism: Wole Soyinka and Le Roi Jones, Trans. Femi Osofisan (Ife: University of Ife Press, 1972) pp. 13–16.
 
13
Amuta, pp. 16–17.
 
14
Ibid., p. 17.
 
15
J. P. Clark and Wole Soyinka are artists traditionally identified with Greco-Roman identity of drama in Africa. They are both universalists.
 
16
Wole Soyinka, Myth, Literature and the African World (Cambridge: Cambridge University Press, 1976).
 
17
P.O. Dada, “Marxist Criticism and African Literature” Ganga: Journal of Literary Studies, Vol. 2, No. 4, 1980, pp. 15–23.
 
18
Amuta, p. 52.
 
19
Vassily Krapivin, ABC of Social and Political Knowledge: What is Dialectical Materialism? (Moscow: Progress Publishers, 1985) p. 29.
 
20
Ibid.
 
21
K.M. Dolgov, “Culture and Social Progress” in Marxist-Leninist Aesthetics and the Arts (Moscow: Progress Publishers, 1980) p. 14.
 
22
Amilcar Cabral, Return to the Source: Selected Speeches (New York: Monthly Review Press, 1973) pp. 42–45.
 
23
Amuta, p. 53.
 
24
Ibid., p. 54.
 
25
Daniel Thorner, “Peasant Economy as a category in Economic History” in Peasants and Peasant Societies, Ed. Teodor Shanin (Hardmondsworth: Penguin Books Ltd., 1971) p. 203.
 
26
Ibid., p. 205.
 
27
Dolgov, p. 14.
 
28
Krapivin, p. 37.
 
29
Ibid.
 
30
Ibid.
 
31
Ibid.
 
32
Dolgov, p. 12.
 
33
Dolgov also discusses this intensively. See Dolgov, p. 14.
 
34
Ibid. See also K. Marx and F. Engles, On Literature and Art (Moscow: Progress Publishers, 1976).
 
35
Dolgov, p. 14.
 
36
Ibid., p. 12.
 
37
Amuta, p. 120.
 
38
Ibid., pp. 120–121.
 
39
V.I. Tolstykh, “Socialist Culture and the Aesthetic Development of the Personality” in Marxist-Leninist Aesthetics and the Arts (Moscow: Progress Publishers, 1980) p. 44.
 
40
Ibid.
 
41
Amuta, p. 69.
 
42
Benjamin Whorf, “The Relation of Habitual Thought and behavior to Language” in Language, Culture and Society, Ed. B.G. Blount (Cambridge, Massachusetts: Winthrop Publishers, 1974) pp. 69–87.
 
43
M. Parry, “Studies in the Epic Technique of Oral Verse—Making: Homer and Homeric Style” in Harvard Studies in Classical Philosophy Vol. 41, 1930, pp. 73–147.
 
44
A. Lord, The Singer of Tales (Harvard: Harvard University Press, 1960).
 
45
Ibid., pp. 5–50.
 
46
Ibid., “Perspective on Recent work in oral Literature” Forum for Modern Languages Studies, July 1974.
 
47
F. P. Magoun, “Oral Formulaic Character of Anglo-Saxon Narrative Poetry” Speculum, 1953, p. 28.
 
48
A. Dandatti explains these efforts of A.A. Deyermond in his “The role of an oral singer in Hausa-Fulani Society: A case study of Mamman Shata,” Diss., Indiana University, 1978, p. 12.
 
49
P. Arant, “Formulaic Style and the Russian Bylinda” Indiana Slavic Studies, 1967, p. 10.
 
50
A.J. Arberry, Arabic Poetry: A Primer for Students (London: Cambridge University Press, 1965) p. 2.
 
51
See A. Na’Allah, “Dadakuada: Trends in the Development of Ilorin Traditional Oral Poetry” B.A. (Ed) Thesis, University of Ilorin, 1988, p. 23.
 
52
U. Beier, Yoruba Poetry (Cambridge: Cambridge University Press, 1970) pp. 10–18.
 
53
G.L. Ermash, “On the Socio-Aesthetic Purpose of Arts” in Marxist-Leninist Aesthetics and the Arts (Moscow: Progress Publishers, 1980) p. 180.
 
54
Ibid.
 
55
Dolgov, p. 14.
 
56
Ibid.
 
57
Ibid.
 
58
A. Babalola, “Ijala Poetry among the Oyo-Yoruba Communities” in Oral Poetry in Nigeria (Lagos: Nigeria Magazine, 1987).
 
59
O. Olajubu, “Iwi: Egungun Chants in Yoruba Oral Literature” M.A. Thesis, University of Lagos, 1970.
 
60
A. Na’Allah, “Dadakuada: The Trends…”
 
61
This is contained in Kalimatu Shahada, the testimony to the Unity of Allah which all new converts to Islam are expected to first pronounce. It is regarded as the very basis of Islam.
 
62
R.O. Olaoye, “The Ilorin Emirate and British Ascendency 1897–1918: An Overview of the early Phase of Ilorin provincial administration” M.A. Thesis, University of Ilorin, 1984, pp. 8–25.
 
63
The Ilorin Local Government has early this year, 1991, promulgated a byelaw prohibiting all-night parties in the traditional areas of Ilorin.
This followed serious agitations by Islamic Malams in llorin.
 
Metadaten
Titel
Criticism of African Art and Literature
verfasst von
Abdul-Rasheed Na’Allah
Copyright-Jahr
2018
Buch
Globalization, Oral Performance, and African Traditional Poetry

Print ISBN: 978-3-319-75078-1

Electronic ISBN: 978-3-319-75079-8

Copyright-Jahr: 2018

DOI
https://doi.org/10.1007/978-3-319-75079-8_2