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Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities...
by Olaniyan, Tejumola | PB | Good
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eBay item number:375065813247
Item specifics
- Condition
- Good
- Seller Notes
- Binding
- Paperback
- Weight
- 0 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9780195094060
- Subject Area
- Literary Criticism
- Publication Name
- Scars of Conquest/Masks of Resistance : The Invention of Cultural Identities in African, African-American, and Caribbean Drama
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 9.2 in
- Subject
- Caribbean & Latin American, American / African American, Drama, African
- Publication Year
- 1995
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.5 in
- Item Weight
- 10.6 Oz
- Item Width
- 6.1 in
- Number of Pages
- 208 Pages
About this product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0195094069
ISBN-13
9780195094060
eBay Product ID (ePID)
71552
Product Key Features
Number of Pages
208 Pages
Publication Name
Scars of Conquest/Masks of Resistance : The Invention of Cultural Identities in African, African-American, and Caribbean Drama
Language
English
Subject
Caribbean & Latin American, American / African American, Drama, African
Publication Year
1995
Type
Textbook
Subject Area
Literary Criticism
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
10.6 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
College Audience
LCCN
94-033238
Reviews
"A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights. Scars of Conquest/Masks of Resistance offers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and culturalpractice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and their inheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctivepan-African theater, but forces reconsideration of the drama's "ambiguous" stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision ofBlack drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston, Haverford College., "The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele, The Ohio State University, and Editor, Research in African Literatures., "An excellent job and...[a] must for students of AfricanLiterature."--V.Y. Mudimbe, Duke University., "An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe,Duke University. "[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporary cultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by other scholars."--Ve Ve Clark,University of California, Berkeley. "A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights.Scars of Conquest/Masks of Resistanceoffers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and cultural practice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and their inheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctive pan-African theater, but forces reconsideration of the drama's "ambiguous" stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision of Black drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston,Haverford College. "The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele,The Ohio State University, and Editor,Research in African Literatures., "A long overdue and very successful comparaitve approach to several of themost important contemporary Black playwrights. Scars of Conquest/Masks ofResistance offers a fascinating, ambitious, and challenging reading of modernpan-African drama as a specific conceptual formation and cultural practice.Drawing on a variety of contemporary critical languages, but equally conversantin the contestatory idioms of Negritude writers, Fanon, and their inheritors,Olaniyan illuminates not only the convergence of competing discourses andhistorical pressures that helped shape a distinctive pan-African theater, butforces reconsideration of the drama's "ambiguous" stagings of anticolonial and"post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections oflanguage and genre produce stimulating and persuasive readings of individualplays, and form the core of his vision of Black drama as an endless"reinvention" of postcolonial identities."--Kimberly W. Benston, HaverfordCollege., "An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe, Duke University., "[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporarycultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by other scholars."--Ve Ve Clark, University of California, Berkeley., "An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe, Duke University . "[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporary cultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by other scholars."--Ve Ve Clark, University of California, Berkeley . "A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights. Scars of Conquest/Masks of Resistance offers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and cultural practice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and their inheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctive pan-African theater, but forces reconsideration of the drama's "ambiguous" stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision of Black drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston, Haverford College . "The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele, The Ohio State University , and Editor, Research in African Literatures ., "An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe, Duke University."[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporary cultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by other scholars."--Ve Ve Clark, University of California, Berkeley."A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights. Scars of Conquest/Masks of Resistance offers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and cultural practice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and their inheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctive pan-African theater, but forces reconsideration of the drama's "ambiguous" stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision of Black drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston, Haverford College."The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele, The Ohio State University, and Editor, Research in African Literatures., "An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe, Duke University."[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporary cultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by otherscholars."--Ve Ve Clark, University of California, Berkeley."A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights. Scars of Conquest/Masks of Resistance offers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and cultural practice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and theirinheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctive pan-African theater, but forces reconsideration of the drama's "ambiguous"stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision of Black drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston, Haverford College."The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele, The Ohio State University, and Editor, Research in African Literatures."An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe, Duke University."[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporary cultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by otherscholars."--Ve Ve Clark, University of California, Berkeley."A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights. Scars of Conquest/Masks of Resistance offers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and cultural practice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and theirinheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctive pan-African theater, but forces reconsideration of the drama's "ambiguous"stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision of Black drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston, Haverford College."The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele, The Ohio State University, and Editor, Research in African Literatures., "An excellent job and...[a] must for students of African Literature."--V.Y. Mudimbe, Duke University. "[This book] is destined to elevate comparative research on African Diaspora drama out of the sub-basement of scholarship. Olaniyan literally performs this transformation by his choice of authors, carefull attention to texts, and criticism informed broadly by a rich dialogue among contemporary cultural and literary theorists.... The argument is presented forcfully, at times eloquently, with a turn of phrase likely to be quoted in the future by other scholars."--Ve Ve Clark, University of California, Berkeley. "A long overdue and very successful comparaitve approach to several of the most important contemporary Black playwrights. Scars of Conquest/Masks of Resistance offers a fascinating, ambitious, and challenging reading of modern pan-African drama as a specific conceptual formation and cultural practice. Drawing on a variety of contemporary critical languages, but equally conversant in the contestatory idioms of Negritude writers, Fanon, and their inheritors, Olaniyan illuminates not only the convergence of competing discourses and historical pressures that helped shape a distinctive pan-African theater, but forces reconsideration of the drama's "ambiguous" stagings of anticolonial and "post-Afrocentric" aspirations. Olaniyan's attention to subtle inflections of language and genre produce stimulating and persuasive readings of individual plays, and form the core of his vision of Black drama as an endless "reinvention" of postcolonial identities."--Kimberly W. Benston, Haverford College. "The publication of this book marks the emergence of a major new intellect in the field of post-colonial studies."--Abiola Irele, The Ohio State University, and Editor, Research in African Literatures., "[This book] is destined to elevate comparative research on AfricanDiaspora drama out of the sub-basement of scholarship. Olaniyan literallyperforms this transformation by his choice of authors, carefull attention totexts, and criticism informed broadly by a rich dialogue among contemporarycultural and literary theorists.... The argument is presented forcfully, attimes eloquently, with a turn of phrase likely to be quoted in the future byother scholars."--Ve Ve Clark, University of California, Berkeley., "The publication of this book marks the emergence of a major new intellectin the field of post-colonial studies."--Abiola Irele, The Ohio StateUniversity, and Editor, Research in African Literatures.
Dewey Edition
20
Illustrated
Yes
Dewey Decimal
809.2/008996073
Synopsis
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., 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.
LC Classification Number
PS338.N4O43 1995
Copyright Date
1995
ebay_catalog_id
4
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