東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Performing hybridity: A dialogic an...

Wafula, Richard M.

FindBook

Google Book

Amazon

博客來

Performing hybridity: A dialogic and semiotic study of late twentieth-century drama from Africa and the African diaspora.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Performing hybridity: A dialogic and semiotic study of late twentieth-century drama from Africa and the African diaspora./
作者:	Wafula, Richard M.
面頁冊數:	211 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4043.
Contained By:	Dissertation Abstracts International64-11A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3111950
ISBN:	9780496594801

Performing hybridity: A dialogic and semiotic study of late twentieth-century drama from Africa and the African diaspora.
Wafula, Richard M.

Performing hybridity: A dialogic and semiotic study of late twentieth-century drama from Africa and the African diaspora. - 211 p.

Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4043.

Thesis (Ph.D.)--Indiana University, 2003.

Studies that have been conducted to establish the connections between African and African diaspora dramatic performances have often been conceptualized based on the apparent racial identity of the artists who create them. This study moves away from these conceptualizations and demonstrates that dramatic texts and performances from Africa and the African diaspora are hybrid and syncretic, which is to say that their organizing principles are not traceable to any one specific culture. Instead, the dramatic texts and performances from Africa and the African diaspora are "multicultural" and bear testimony to the heterogeneity of the people who create and consume them. Through this study I show that intellectual habits that align the production of dramatic works from Africa and the African diaspora with essentialist racial categories are theoretically erroneous and dangerous in real life. The works of Lorraine Hansberry, Amie Cesaire, Derek Walcott, Ama Ata Aidoo, Tess Onwueme, Amiri Baraka, Ebrahim Hussein, Wole Soyinka, Suzan Lori-Parks, Athol Fugard, John Kani and Winston Ntshona, Douglas Turner Ward and Earl Lovelace exhibit multiple sources of origin. My critique of the frameworks that tend to seek a straight line of connection of ideas from Africa to the African diaspora and that tend to search for what is distinctly African in these dramas and performances leads to the conclusion that Afrocentric approaches cannot adequately account for African and diasporic plays produced in the late twentieth century. My analysis is informed instead by Bakhtinian dialogism in conjunction with adjacent frameworks such as the sociology of theatre, semiotics and postcolonial theory. It shows moreover that dialogism, which Bakhtin attributes to the novel alone, is appropriate for an analysis of the convergences and divergences of drama from Africa and the African diaspora. By using dialogism among other frameworks, I emphasize the fact that in dramatic performance, discourse is as important as plot and action. This study consequently interrogates and modifies Bakhtin's extreme concessions in favor of the novel as the quintessence of dialogism.

ISBN: 9780496594801Subjects--Topical Terms:

570001
Comparative literature.

Performing hybridity: A dialogic and semiotic study of late twentieth-century drama from Africa and the African diaspora.
LDR:03145nmm a2200313 4500 001 2065431
005 20151205151948.5
008 170521s2003 ||||||||||||||||| ||eng d
020 $a 9780496594801
035 $a (MiAaPQ)AAI3111950
035 $a AAI3111950
040 $a MiAaPQ $c MiAaPQ
100 1 $a Wafula, Richard M. $3 3180129
245 1 0 $a Performing hybridity: A dialogic and semiotic study of late twentieth-century drama from Africa and the African diaspora.
300 $a 211 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4043.
500 $a Adviser: Eileen Julien.
502 $a Thesis (Ph.D.)--Indiana University, 2003.
520 $a Studies that have been conducted to establish the connections between African and African diaspora dramatic performances have often been conceptualized based on the apparent racial identity of the artists who create them. This study moves away from these conceptualizations and demonstrates that dramatic texts and performances from Africa and the African diaspora are hybrid and syncretic, which is to say that their organizing principles are not traceable to any one specific culture. Instead, the dramatic texts and performances from Africa and the African diaspora are "multicultural" and bear testimony to the heterogeneity of the people who create and consume them. Through this study I show that intellectual habits that align the production of dramatic works from Africa and the African diaspora with essentialist racial categories are theoretically erroneous and dangerous in real life. The works of Lorraine Hansberry, Amie Cesaire, Derek Walcott, Ama Ata Aidoo, Tess Onwueme, Amiri Baraka, Ebrahim Hussein, Wole Soyinka, Suzan Lori-Parks, Athol Fugard, John Kani and Winston Ntshona, Douglas Turner Ward and Earl Lovelace exhibit multiple sources of origin. My critique of the frameworks that tend to seek a straight line of connection of ideas from Africa to the African diaspora and that tend to search for what is distinctly African in these dramas and performances leads to the conclusion that Afrocentric approaches cannot adequately account for African and diasporic plays produced in the late twentieth century. My analysis is informed instead by Bakhtinian dialogism in conjunction with adjacent frameworks such as the sociology of theatre, semiotics and postcolonial theory. It shows moreover that dialogism, which Bakhtin attributes to the novel alone, is appropriate for an analysis of the convergences and divergences of drama from Africa and the African diaspora. By using dialogism among other frameworks, I emphasize the fact that in dramatic performance, discourse is as important as plot and action. This study consequently interrogates and modifies Bakhtin's extreme concessions in favor of the novel as the quintessence of dialogism.
590 $a School code: 0093.
650 4 $a Comparative literature. $3 570001
650 4 $a African literature. $3 1973478
650 4 $a Theater. $3 522973
650 4 $a Caribbean literature. $3 3173897
650 4 $a American literature. $3 523234
690 $a 0295
690 $a 0316
690 $a 0465
690 $a 0360
690 $a 0591
710 2 $a Indiana University. $3 960096
773 0 $t Dissertation Abstracts International $g 64-11A.
790 $a 0093
791 $a Ph.D.
792 $a 2003
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3111950