Publication: Las características estéticas en el teatro de Wole Soyinka
Loading...
Files
Official URL
Full text at PDC
Publication Date
2017-11-15
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
El objetivo general de este proyecto de investigación es investigar las obras dramáticas seleccionadas por Wole Soyinka a través de una lectura crítica. Se trata de identificar y localizar las características estéticas, y revelar sus valores y funciones exactas en las obras. Tan claro como sea posible, este estudio tiene como objetivo conseguir características estéticas de Wole Soyinka ampliamente conocidas, ya que pueden ser útiles toda clase de lectores, intelectuales y académicos. Así mismo, pueden resultar interesantes por razones políticas, sociales, religiosas, ambientales, etc. Las obras de Wole Soyinka que constituyen el corpus de esta tesis son: A Dance of the Forests, The Swamp Dwellers, The Strong Breed, The Road, The Lion and the Jewel, Kongi’s Harvest, and The Trials of Brother Jero. El término ''estética'' debe por derivación canalizar la investigación sobre la naturaleza del sentido y la percepción. Los temas claros de la estética se pueden dividir en los siguientes apartados: la verdad estética, la moral estética, estética como expresión, la subjetividad de la estética, etc. Esto también puede significar que la problemática de la estética encaja en los temas globales de la cultura, incluyendo el de la verdad en el dominio del conocimiento, etc. Además, la estética puede dar repuesta al porque un monarca está en la política, la iglesia en la religión, el capital en la economía, y la clase media en la sociedad. En este sentido, la estética aborda libremente todos los aspectos de la vida humana...
This doctoral dissertation examines the constellations of textual features, the markers of Wole Soyinka’s literary identity which are identified only through aesthetic sensibility and judgement. The aim is of course, to identify and to locate these aesthetic features, and reveal their exact values and functions in his selected plays. As clear as it may appear, this study aims at getting Wole Soyinka’s aesthetic features widely known since they are useful for calling both, leaders, be them traditional or modern, and ordinary peoples to give their countries and continents the chances they deserve in the domains of politics, society, culture, education, economics, environment, religion, etc. Wole Soyinka’s plays that constitute the corpus of this dissertation are: A Dance of the Forests, The Swamp Dwellers, The Strong Breed, The Road, The Lion and the Jewel, Kongi’s Harvest, and The Trials of Brother Jero. These seven plays have been selected mainly because, through their aesthetics and their functions, they are likely linked by their concern with spiritual and the social, with belief and spiritual as integrating forces for social cohesion. They also trace the ironic development and consequences of progress. The term ‘’aesthetics’’ should by derivation mean the inquiry into the nature of sense – perception. Aesthetics addresses freely all the aspects of human life. Aesthetics is a very ambiguous term nowadays, mainly due to the amount of criticism. Soyinka builds its theory of drama with material from his Yoruba tradition: rituals, rites, ceremonies, festivals, etc. This fact justifies in his plays, the use of metanarratives that imaginatively and discursively legitimated movement of the twentieth century, which do not feature in his works in their conventional and familiar configurations. There is no conventional theatre in Yoruba tradition. The dramatic re – enactments of historical events, which often form part of religious festivals, involve acting but they are not meant as entertainment, nor have they produced a professional class of actors. In Africa, there are no clearly set criteria for drama so as to have a conventional theatre. What is true for the Yoruba community is also true for other African communities...
This doctoral dissertation examines the constellations of textual features, the markers of Wole Soyinka’s literary identity which are identified only through aesthetic sensibility and judgement. The aim is of course, to identify and to locate these aesthetic features, and reveal their exact values and functions in his selected plays. As clear as it may appear, this study aims at getting Wole Soyinka’s aesthetic features widely known since they are useful for calling both, leaders, be them traditional or modern, and ordinary peoples to give their countries and continents the chances they deserve in the domains of politics, society, culture, education, economics, environment, religion, etc. Wole Soyinka’s plays that constitute the corpus of this dissertation are: A Dance of the Forests, The Swamp Dwellers, The Strong Breed, The Road, The Lion and the Jewel, Kongi’s Harvest, and The Trials of Brother Jero. These seven plays have been selected mainly because, through their aesthetics and their functions, they are likely linked by their concern with spiritual and the social, with belief and spiritual as integrating forces for social cohesion. They also trace the ironic development and consequences of progress. The term ‘’aesthetics’’ should by derivation mean the inquiry into the nature of sense – perception. Aesthetics addresses freely all the aspects of human life. Aesthetics is a very ambiguous term nowadays, mainly due to the amount of criticism. Soyinka builds its theory of drama with material from his Yoruba tradition: rituals, rites, ceremonies, festivals, etc. This fact justifies in his plays, the use of metanarratives that imaginatively and discursively legitimated movement of the twentieth century, which do not feature in his works in their conventional and familiar configurations. There is no conventional theatre in Yoruba tradition. The dramatic re – enactments of historical events, which often form part of religious festivals, involve acting but they are not meant as entertainment, nor have they produced a professional class of actors. In Africa, there are no clearly set criteria for drama so as to have a conventional theatre. What is true for the Yoruba community is also true for other African communities...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 15-03-2017