419 research outputs found
SOCIO-DRAMATIC TRANSITION OF LANGUAGE USE IN THE PLAYS OF OLA ROTIMI
No full textAbstractLiterary language in African writing makes for interesting study because of the linguistic nuances and flavour of the indigenous African language of its author that finds creative expression in English. How language is used in dramatic communication is a subject of serious intellectual debate. This study, through the textual analysis of some play-texts, which are constructed on the didactic and eclectic nature of theatre and the society, is a reflection on the socio-dramatic transition of language use in the plays of Ola Rotimi. The discussion will identify, conceptualise and re-think some major forms, styles and patterns of language use in the plays of Ola Rotimi. Given the theatrical, dramatic, literary dividends and effectiveness of Rotimi’s works, this study concludes by calling on budding playwrights and dramatists in Africa to emulate/imitate/learn from re-thought language forms, styles and “linguistic possibilities” in the plays of Ola Rotimi as they experiment with language use in the African theatre.Keywords: African theatre, language use, Ola Rotimi, play directing, socio-dramatic, transitio
Socio-dramatic transition of language use in the plays of Ola Rotimi
No full textLiterary language in African writing makes for interesting study because of the linguistic nuances and flavour of the indigenous African language of its author that finds creative expression in English. How language is used in dramatic communication is a subject of serious intellectual debate. This study, through the textual analysis of some play-texts, which are constructed on the didactic and eclectic nature of theatre and the society, is a reflection on the socio-dramatic transition of language use in the plays of Ola Rotimi. The discussion will identify, conceptualise and re-think some major forms, styles and patterns of language use in the plays of Ola Rotimi. Given the theatrical, dramatic, literary dividends and effectiveness of Rotimi’s works, this study concludes by calling on budding playwrights and dramatists in Africa to emulate/imitate/learn from re-thought language forms, styles and “linguistic possibilities” in the plays of Ola Rotimi as they experiment with language use in the African theatre.Keywords: African theatre, language use, Ola Rotimi, play directing, socio-dramatic, transitio
Oral tradition versus linguistic evidence: the Babur-Bura case revisited
No full textIn a previous study which originally tackled the apparent contradiction between oral tradition and linguistic evidence in the Babur-Bura case, we approached the issue through a contrastive analysis of Bura and Kanuri. Since the originstory tends to push the Babur towards the Kanuri, leaving the Bura to stand all alone, it was felt that any linguistic closeness between Kanuri and Babur would confirm the originstory. Unfortunately, the paper did not come up with such evidence. The paper in question summarizes COHEN's (1983) account and interpretation of both the Babur and the Bura versions of their origin. It then presents the loopholes in the various accounts, based not only on the current linguistic classification of the area, but also on the results of an investigation carried out within the framework of the "Borno Surname Project". At both the phonological and syntactic levels, BADEJO (1989) observes that in view of certain fundamental differences between Kanuri on the one hand and Babur-Bura on the other, Babur affiliation with Kanuri is doubtful. Such differences include: the lack of voice distinction between the labiodental fricatives in Kanuri (i.e. /f/ and /v/; the /p/ - /f/ alternation), especially in wordinitial position in Kanuri, and finally, the SOV structure of the Kanuri sentence. The paper, drawing on support from an opinion survey, therefore concludes that "general linguistic and the social linguistic considerations presented ... seem to point to the fact that the Babur and the Bura are, by and large, the same people". The paper, however, recognizes the need for a Babur-Bura contrastive study. The current paper is the first step in that direction
Babalola, Joseph Ayodele
No full text[Joseph Ayodele Babalola was born on April 25, 1904 to David Rotimi and
Madam Marta Talabi who belonged to the Anglican Church. The family
lived at Odo-Owa in Ilofa, a small town about ninety kilometers from Ilorin
in Kwara State. His father was the Baba Ijo (“church father”) of the C.M.S.
Church at Odo-Owa. Mysterious circumstances allegedly surrounded the
birth of Babalola. On that day, it was believed that a strange and mighty
object exploded and shook the clouds.
La tragedia greca in Africa: l'Edipo re di Ola Rotimi
No full textLo studio esplora l'impatto della drammaturgia classica in Africa, attraverso un momento paradigmatico: The Gods are not to Blame (Gli dei non vanno maledetti, 1969) di Emmanuel Gladstone Rotimi, riscrittura dell'Edipo re sofocleo. Attraverso la reinterpretazione di un testo canonico della cultura occidentale, l'autore ha cercato di presentare, rappresentare, definire ed esplorare la storia e l'identità del proprio paese, la Nigeria, e della propria etnia, gli Yoruba. Il mito greco viene ridiscusso all'interno di una cornice dualistica, contemporaneamente postcoloniale e indigena, che ne permea gli stratagemmi, lo stile e i contenuti, fondendosi in una sintesi di protesta e imitazione, in una mescolanza di rivolta e conciliazione. D’altronde, la storia del rapporto tra l’Europa e l’Africa è tragicamente segnata da episodi di sofferenza, oppressione e razzismo. L’analisi condotta si dispiega attraversa una serrata comparazione, a tratti filologica, tra i due drammi, nel tentativo di evidenziarne e motivarne analogie e incongruenze. Il risultato di questa meticolosa ricognizione critica ci conduce verso un prodotto ibrido che non mistifica o neglige la sacralità classica, ma ne divelte le porte del tempio in modo tale che al suo interno si crei lo spazio per altre forme di esperienza e nuovi timbri di voce.The study explores the impact of classical dramaturgy in Africa, through a paradigmatic moment: The Gods are not to Blame (1969) by Emmanuel Gladstone Rotimi, a rewriting of Sophocles' Oedipus Rex. Through the reinterpretation of a canonical text of Western culture, the author sought to present, represent, define and explore the history and identity of his own country, Nigeria, and of his own ethnic group, the Yoruba. The Greek myth is rediscussed within a dualistic framework, simultaneously postcolonial and indigenous, which permeates its stratagems, style and contents, merging in a synthesis of protest and imitation, in a mixture of revolt and conciliation. On the other hand, the history of the relationship between Europe and Africa is tragically marked by episodes of suffering, oppression and racism. The analysis conducted unfolds through a close comparison, at times philological, between the two dramas, in an attempt to highlight and motivate analogies and inconsistencies. The result of this meticulous critical reconnaissance leads us towards a hybrid product that does not mystify or neglect classical sacredness, but demolishes the doors of the temple in such a way that space is created inside for other forms of experience and new timbres of voice
Proceedings of the 7th New Zealand Built Environment Research Symposium
No full text(c) The Author/sFALSEAuckland, New Zealan
A comparative analysis of Andre Gide's Oedipe and Ola Rotimi's The Gods Are Not to Blame, 2000
No full textAlthough there have been numerous and varied treatments of Oedipus throughout the ages, there is to date no detailed analytical study of myth based on Andre Gides Oedine and Ola Rotimis The Gods Are Not to Blame. This study is a critical analysis of these two dramatic texts, which have been reworked from fifth century Greek tragedy. The principal aim is to compare these two plays taken from different cultures, in an effort to show that they both have a common originSophocles Oedipus the King. Through this comparison, the author wishes to show that each playwright presents Oedipus as a classic, which transcends cultural boundaries, thus making Sophocles drama a classic work in world literature. The study is presented in four chapters. The first chapter serves as an introduction, which deals with the origin of the Oedipus theme and some of the major writers who helped to popularize it. This chapter will also present references, theses and other critical works written on the plays in question. The second and third chapters deal with the plays of each playwright: Oedipe by Andre Gide and The Gods Are Not to Blame by Ola Rotimi. Each chapter will include a brief sketch of the authors life, a resume of the plays, and the development of major and minor characters. The fourth chapter will deal with the similarities and the contrasts in the plays and will also serve as the conclusion
Photographic Work Exhibited in 'New Masculinities: Photography and Film from the 1960s to Now', Barbican Gallery, London (20 February – 17 May 2020) touring to Les Rencontres de la Photographie, Arles (29 June - 20 September 2020) and Gropius-Bau, Berlin (16 October 2020 until 10 January 2021)
No full textParticipating artists include Laurie Anderson, Kenneth Anger, Liz Johnson Artur, Knut Åsdam, Richard Avedon, Aneta Bartos, Cassils, Sam Contis, John Coplans, Jeremy Deller, Rineke Dijkstra, George Dureau, Thomas Dworzak, Hans Eijkelboom, Fouad Elkoury, Hal Fischer, Samuel Fosso, Anna Fox, Masahisa Fukase, Sunil Gupta, Peter Hujar, Isaac Julien, Rotimi Fani-Kayode, Karen Knorr, Hilary Lloyd, Robert Mapplethorpe, Peter Marlow, Ana Mendieta, Annette Messager, Duane Michals, Tracey Moffatt, Andrew Moisey, Richard Mosse, Adi Nes, Catherine Opie, Elle Pérez, Herb Ritts, Kalen Na’il Roach, Paul Mpagi Sepuya, Collier Schorr, Clare Strand, Mikhael Subotzky, Larry Sultan, Hank Willis Thomas, Andy Warhol, Karlheinz Weinberger, Marianne Wexn and David Wojnarowicz
Estimating the Incidence of Breast Cancer in Africa: a Systematic Review and Meta-Analysis
No full textChan, Wai Kit/0000-0002-8097-0802; David, Rotimi/0000-0003-1823-4625; Misra, Sanjay/0000-0002-3556-9331; Auta, Asa/0000-0001-6515-5802; Adeloye, Davies/0000-0003-1316-8139; Okuboyejo, Olaperi/0000-0002-0937-2607; Jacobs, Wura/0000-0002-4293-5635; Chan, Kit Yee/0000-0002-3465-8383; Gadanya, Muktar/0000-0003-0061-5219; Amuta-Jimenez, Ann/0000-0002-1944-1792Background Breast cancer is estimated to be the most common cancer worldwide. We sought to assemble publicly available data from Africa to provide estimates of the incidence of breast cancer on the continent. Methods A systematic search of Medline, EMBASE, Global Health and African Journals Online (AJOL) was conducted. We included population-or hospital-based registry studies on breast cancer conducted in Africa, and providing estimates of the crude incidence of breast cancer among women. A random effects meta-analysis was employed to determine the pooled incidence of breast cancer across studies. Results The literature search returned 4648 records, with 41 studies conducted across 54 study sites in 22 African countries selected. We observed important variations in reported cancer incidence between population- and hospital-based cancer registries. The overall pooled crude incidence of breast cancer from population-based registries was 24.5 per 100 000 person years (95% confidence interval (CI) 20.1-28.9). The incidence in North Africa was higher at 29.3 per 100 000 (95% CI 20.0-38.7) than Sub-Saharan Africa (SSA) at 22.4 per 100 000 (95% CI 17.2-28.0). In hospital-based registries, the overall pooled crude incidence rate was estimated at 23.6 per 100 000 (95% CI 18.5-28.7). SSA and Northern Africa had relatively comparable rates at 24.0 per 100 000 (95% CI 17.5-30.4) and 23.2 per 100 000 (95% CI 6.6-39.7), respectively. Across both registries, incidence rates increased considerably between 2000 and 2015. Conclusions The available evidence suggests a growing incidence of breast cancer in Africa. The representativeness of these estimates is uncertain due to the paucity of data in several countries and calendar years, as well as inconsistency in data collation and quality across existing cancer registries
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