Omotayo Oloruntoba-Oju
Biographic Data
| ID | 4052328 |
|---|---|
| NAME | Omotayo Oloruntoba-Oju |
| GIVEN NAMES | Omotayo |
| FAMILY NAME | Oloruntoba-Oju |
| SIGNATURE | OLORUNTOBA-OJU O |
| ORCID | 0000-0001-8328-8369 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
Models in the construction of female identity in Nigerian postcolonial literature
Gendered identity in Africa has for centuries been a hotbed of ideological and narrative contestations. While colonial constructions of the African female were generally essentialist and negative in character, early postcolonial African literature also ironically deployed essentialisms and rigid gender binaries to portray African womanhood, thus prompting a challenge of both by female African writers of the first generation. However, in a signifi…
Theatre of the Rooted and Theatre of the Uprooted: Comparing Multiculturalism in African and Caribbean Theatre
IntroductionTHE VERY FOUNDATION OF THE CARIBBEAN society was multicultural. Correspond- ingly, avowed intention and constant declaration of leading lights of Caribbean theatre, from Derek Walcott through Errol Hill to Ron Williams, has been promotion and legitimising, through theatrical medium, of multicultural status of Caribbean. On other side of Atlantic, 'international multiculturalism'1 has long been foisted on native Africa by related facto…
FromAlarinjotoArugba: Continuities in indigenous Nigerian drama
Ethnic societies typically assign some degree of indigenousness or cultural originality to their arts, performances and other artefacts of their culture. This assignment has both historical and emotive values in terms of what the communities ‘call their own’. Definitions that threaten to ‘take away’ this emotive cultural anchor from them are therefore apt to meet with resistance. However, the definition of the term ‘indigenous’ is problematic tod…
The Redness of Blackness: Revisiting Derek Walcott's Mulatto Aesthetics
The complex demands of history constitute a burden for the conscious Caribbean artist, particularly the playwright, who has to recreate Caribbean history and contemporary existence and expectation on a live stage. This paper is a review of Derek Walcott's mulatto aesthetics as a conscious choice that merges into this socio-historical backdrop. The paper recaps important stages in the development of Caribbean aesthetics and re-locates Walcott's cr…
The Redness of Blackness: Revisiting Derek Walcott's Mulatto Aesthetics
The complex demands of history constitute a burden for the conscious Caribbean artist, particularly the playwright, who has to recreate Caribbean history and contemporary existence and expectation on a live stage. This paper is a review of Derek Walcott's mulatto aesthetics as a conscious choice that merges into this socio-historical backdrop. The paper recaps important stages in the development of Caribbean aesthetics and re-locates Walcott's cr…
FromAlarinjotoArugba: Continuities in indigenous Nigerian drama
Ethnic societies typically assign some degree of indigenousness or cultural originality to their arts, performances and other artefacts of their culture. This assignment has both historical and emotive values in terms of what the communities ‘call their own’. Definitions that threaten to ‘take away’ this emotive cultural anchor from them are therefore apt to meet with resistance. However, the definition of the term ‘indigenous’ is problematic tod…
The Redness of Blackness: Revisiting Derek Walcott's Mulatto Aesthetics
The complex demands of history constitute a burden for the conscious Caribbean artist, particularly the playwright, who has to recreate Caribbean history and contemporary existence and expectation on a live stage. This paper is a review of Derek Walcott's mulatto aesthetics as a conscious choice that merges into this socio-historical backdrop. The paper recaps important stages in the development of Caribbean aesthetics and re-locates Walcott's cr…
FromAlarinjotoArugba: Continuities in indigenous Nigerian drama
Ethnic societies typically assign some degree of indigenousness or cultural originality to their arts, performances and other artefacts of their culture. This assignment has both historical and emotive values in terms of what the communities ‘call their own’. Definitions that threaten to ‘take away’ this emotive cultural anchor from them are therefore apt to meet with resistance. However, the definition of the term ‘indigenous’ is problematic tod…
Theatre of the Rooted and Theatre of the Uprooted: Comparing Multiculturalism in African and Caribbean Theatre
IntroductionTHE VERY FOUNDATION OF THE CARIBBEAN society was multicultural. Correspond- ingly, avowed intention and constant declaration of leading lights of Caribbean theatre, from Derek Walcott through Errol Hill to Ron Williams, has been promotion and legitimising, through theatrical medium, of multicultural status of Caribbean. On other side of Atlantic, 'international multiculturalism'1 has long been foisted on native Africa by related facto…
Models in the construction of female identity in Nigerian postcolonial literature
Gendered identity in Africa has for centuries been a hotbed of ideological and narrative contestations. While colonial constructions of the African female were generally essentialist and negative in character, early postcolonial African literature also ironically deployed essentialisms and rigid gender binaries to portray African womanhood, thus prompting a challenge of both by female African writers of the first generation. However, in a signifi…
Aesthetics (4 works) · Art (4 works) · History (3 works) · History (3 works) · Law (3 works) · Political science (3 works) · Sociology (3 works) · Caribbean history, culture, and politics (2 works) · Gender Studies (2 works) · Gender Studies (2 works)