Masculinity as an Open Wound in Stephen Kings Fiction
wound in Stephen King's The Shining
The lusty stealth of nature:
of this sexual turmoil stands King Lear himself characters to Lear's experience by showing how ... Seven Deadly Sins creates a composite picture of.
No Fear Shakespeare – Hamlet (by SparkNotes)
looking like the dead king of Denmark when he No Fear Shakespeare – Hamlet (by SparkNotes). -7-. Original Text. Modern Text ... Look thou character.
David Kathman - Reconsidering The Seven Deadly Sins
Part of the Seven Deadly Sins (Dulwich College MS XIX) apparently designed major roles (King Henry VI and Lydgate) and several minor ones are not.
Another Meaning of the Storm in King Lear Kunio Shimane 1 The
opposition of contrary characters the sudden change of fortune
No Fear Shakespeare – Hamlet (by SparkNotes)
looking like the dead king of Denmark when he No Fear Shakespeare – Hamlet (by SparkNotes). -7-. Original Text. Modern Text ... Look thou character.
The Elizabethan Conception of the Tyrant
Mustapha and Alaham
Merton Robert K. (1968) Social Theory and Social Structure. New
VII CONTINUITIES IN THE THEORY OF SOCIAL STRUCTURE AND ANOMIE227 past decade there is reason to review its character and workings in the light of uses ...
MARTIN LUTHER KING JR. THE POOR PEOPLES CAMPAIGN
7 explicitly have recognized the PPC's class-based character. While Thomas Jackson hints at the campaign's complicated nature placing its “failure” in
DEATH AND THE KINGS HORSEMAN ?Analysis and Translation
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Adriano Moraes Migliavacca
ʊAnalysis and Translation into Portugueseʊ
Porto Alegre
20182
Universidade Federal do Rio Grande do Sul
Instituto de Letras
Programa de Pós-Graduação em Letras
Estudos de Literatura
Literaturas Estrangeiras Modernas
ʊAnalysis and Translation into Portugueseʊ
Adriano Moraes Migliavacca
Orientadora:
Prof. Dr. Rosalia Angelita Neumann Garcia
Tese apresentada ao Programa de Pós-Graduação em Letras do Instituto de Letras da Universidade Federal do Rio Grande do Sul como requisito parcial para a obtenção de título de Doutor em Letras LiteraturasEstrangeiras Modernas
Porto Alegre
20183 4
Agradecimentos
À minha orientadora Rosalia Angelita Neumann Garcia por me acompanhar já há tanto tempo em minha formação e aos membros da banca professora Eliana Lourenço da Lima Reis, Elizamari Rodrigues Becker e Lawrence Flores Pereira por gentilmente terem aceitado avaliar esta tese, ponto crucial de meu amadurecimento intelectual. À Universidade Federal do Rio Grande do Sul, por todos estes anos de aprendizado. Ao amigo José Ricardo Costa por trocas intelectuais e espirituais.Ao Bàbálawo Ifálӑlá Ojétundé Awosanmi Fájobí Agboӑlá, por me guiar na minha Ìrìn-
àjò, e a todos os membros da Ҽgbҽғ Agboӑlá, pelas experiências que tivemos juntos.
À mana Ifáৢike ӐҒৢunbunmi Irewole Carol pelas trocas e aprendizados espirituais-
pessoais, de perto e à distância. Ao grande amigo Rodrigo de Lemos, pelas trajetórias paralelas ao longo de quase vinte anos entre poemas e ideias. Ao brother Jerônimo Cassol Soro, na fragilidade fora da sina.À minha Eliane Fernandes Marques, Olùfҽғ mi, por um ano de amor, companheirismo,
muito auxílio, aprendizado e mais amor. Que outros venham!!! Enfim para a minha Ҽgbҽғ ӐҒrun àti Ҽgbҽғ Àiyé:Umberto, Bàbá mi
Gisela, Ìyá mi
Carolina, Arábìnrin mi
Por terem gerado e moldado a pessoa que sou e que chegou até aqui, estando do meu lado mesmo quando as coisas pareciam perdidas, mas, acima de tudo, nos momentos de felicidade. eA todos os membros da Ҽgbҽғ Migliavacca e da Ҽgbҽғ Moraes os que estão, os que
estiveram e os que estarão. 5RESUMO
Na moderna literatura africana, poucos autores se destacam tanto quanto o dramaturgo, poeta, ensaísta, memorialista e ficcionista nigeriano, de origem iorubá, Wole Soyinka,internacionalmente célebre e ganhador do Prêmio Nobel de Literatura em 1986. Soyinka é
conhecido sobretudo como dramaturgo, e seu teatro se caracteriza pelo uso de uma variedade degêneros literários, formas, linguagens extraliterárias, como a dança e a música, e outros recursos
relacionados à cultura iorubá. A obra de Soyinka, escrita em inglês, incorpora tanto elementos
das literaturas ocidentais quanto das africanas, e seu inglês é marcado pela constante visitação
da oralidade iorubá em provérbios, metáforas e fragmentos de poemas tradicionais assim como sua dramaturgia incorpora elementos do teatro tradicional de seu povo. Acima de tudo, seusenredos, que incluem temas atuais como corrupção, lutas por poder e conflitos entre o indivíduo
e seu grupo, estão alicerçados na visão de mundo e cosmogonia iorubá, contendo ainda diversas
referências mitológicas e rituais. Em outras palavras, Wole Soyinka se caracteriza, antes de
tudo, como um escritor iorubá, cuja obra, cosmopolita em seus temas e conflitos, encontra suasraízes e enquadramento filosófico na visão de mundo de seu povo. É nessa forte presença de
elementos iorubás que se encontra um dos maiores interesses das obras de Wole Soyinka para oBrasil. Sabemos que, nos últimos tempos, está havendo uma considerável valorização de
elementos de origem africana presentes na cultura nacional, dentre eles, os encontrados nasreligiões de matriz africana, que se mostram verdadeiros repositórios de mitos e símbolos de
grande riqueza semântica. Tais mitos e símbolos presentes nessas religiões são majoritariamente
de origem iorubá. Ler a obra de Soyinka no Brasil, portanto, é buscar uma nova forma de serelacionar com esses elementos e de valorizá-los em sua dimensão literária. Entre as peças de
Wole Soyinka, a mais conhecida é provavelmente Death and , publicadaem 1975 e com diversas realizações teatrais na Nigéria, Estados Unidos e Reino Unido. Baseada
em uma situação real na Nigéria colonial, em que um costume do povo iorubá entrou em
conflito com a ordem britânica, tal peça é aquela em que visão de mundo e mitologia iorubá
estão mais bem articuladas com uma linguagem rica em gêneros e fragmentos da literatura oraliorubá, sendo particularmente proveitosa para uma aproximação cultural. Esta tese oferece uma
análise da peça baseada em noções da cultura, da mitologia e da visão de mundo iorubá e nas
teorias estéticas e metafísicas do próprio Wole Soyinka. Destacam-se nesta análise os aspectos
simbólicos, míticos e metafísicos, assim como os estéticos. Essa análise é precedida de um
estudo sobre dimensões da cultura iorubá importantes para o entendimento da peça, tais comohistória, religião, mitologia, filosofia e artes. Em seguida, as teorias estéticas de Wole Soyinka
são estudadas sobre o pano de fundo das discussões literárias vigentes na África no período em
que Soyinka engendrava tais teorias. É a partir desses elementos que a peça é analisada. Acima
de tudo, esta tese oferece uma tradução de que busca valorizarseu conteúdo lírico, suas várias linguagens e suas perspectivas filosóficas, com base nos estudos
que foram feitos nos capítulos precedentes, concluindo a tese com observações sobre o processo
de tradução. Palavras-chave: Wole Soyinka. Tradução Literária. Literatura Africana. 6ABSTRACT
In modern African literature, few authors stand out as much as the Nigerian playwright, poet, essayist, memorialist, and novelist, of Yoruba origin, Wole Soyinka, internationally acknowledged as the winner of the 1986 Nobel Prize for Literature. Soyinka is known above all as a playwright, and his theatre is characterized by the use of a variety of literary genres, forms, extra-literary languages, such as dance and music, and other resources related to Yoruba culture. des elements from both Western and African literatures, and his English is marked by the constant presence of Yoruba orality in proverbs, metaphors and fragments of traditional poems as much as his dramaturgy embodies elements of the traditional theatre of his people. Above all, his plots, in such current themes as corruption, struggle for power and conflicts between individual and the community, are stippled on Yoruba worldview and cosmogony, containing as well many mythological and ritual references. In other words, Wole Soyinka characterizes himself, above all, as a Yoruba writer, whose work finds its roots and philosophical framework in the worldview of his people. It is in the strong presence of Yoruba elements in virtually all the ambits that we find one of the greatest interests -known that, in later years, there has been an increasing valuation and interest for elements of African origin in national culture, including those found in African-Brazilian religions, which are actually pools of myths and symbols of great semanticwealth. These myths and symbols found in those religions are, in their majority, of Yoruba
val -known is probably , published in 1975 and with many productions in Nigeria, the United States and the United Kingdom. Based on an actual event that took place in colonial Nigeria, in which a Yoruba native habit conflicted with the British rule, this play is the one in which Yoruba mythology and worldview are best articulated with language that is rich in genres and fragments of Yoruba oral literature, being particularly fruitful for a cultural encounter. This dissertation offers an analysis of the play base on notions of Yoruba culture, mythology, and the symbolical, mythical and metaphysical, as well as aesthetic aspects. It is preceded by a study on important dimensions of Yoruba culture for the understanding of the play, such as history, heories are studied against the background of the current literary discussions in Africa at the time. It is from these elements that the play is studied. Above all, this dissertation offers a translation of Death that values its lyrical content, its many artistic languages and its philosophical perspectives based on the studies conducted in previous chapters and concluding with observations about the translation process. Keywords: Wole Soyinka. Literary Translation. African Literature 7CONTENTS
INTRODUCTION 9
CHAPTER 1 ORISUN
(SPRINGHEAD)The Land of Spreading 23
Oyo: Kingdom among Kingdoms 30
Yoruba ReligionThe Early Views 40
A Worldview and its Deities 46
Yoruba Worldview in Art and Spectacle 55
CHAPTER 2 ORITA META
(CROSSROADS)The Position of African Literature 68
The Negritude Movement and Soyinka 73
The Burden and the Muse 84
A Yoruba Writer 89
Soyinka and the African World 93
Literature as Mythopoiesis 111
CHAPTER 3 OJA ATI ILE
(MARKETPLACE AND HOME)The Horseman Staged and Read 118
Act 1 122
Act 2 136
Act 3 139
8Act 4 145
Act 5 147
Discussion 154
CHAPTER 4 IKU ATI ELESIN OBA
(DEATH ANDAto 1 180
Ato 2 200
Ato 3 213
Ato 4 226
Ato 5 244
CHAPTER 5 IRIN AJO
(JOURNEY)Language Worlds 261
Act 1 264
Act 2 273
Act 3 279
Act 4 288
Act 5 292
CONCLUSION 302
BIBLIOGRAPHICAL REFERENCES 307
9INTRODUCTION
In 1986, the world saw the first Black author to win the Nobel Prize in Literature in the figure of the Nigerian writer Wole Soyinka. An author of plays, poems, essays, memoir books and novels, Wole Soyinka was paramount in the formation of modern African Literature, which cannot be conceived of without him. His works, written in English, mingle Modern, Elizabethan and Greek elements in structure, themes andlanguage, but there is no doubt that their trademark is what he brings of African oral
literature and traditional theatre. Primarily a playwright, with elements of these different
theatrical traditions, he developed a very original art to give to the reader more than a
picture, actually an experience of Africa. From this source also he has drawn an equally original theory of the African theatre. In addition to his reputation as a writer, he became well-known throughout the years as one of the most prominent spokespersons of Africa to the world as he has been a present figure in many countries discussing assorted issues such as poverty, corruption and religious intolerance. His acknowledgment in this field does not mean that, in the places he visits, his works tend to become well-known and well-read. Our case in Brazil can be used as an example: Wole Soyinka has been here a number of times, including in2017 in Porto Alegre as the main invitee of the Book Fair. When he comes, he usually
arouses interest and is received with warmth. Nevertheless, there is, among us, only one of his books translated: the play The Lion and the Jewel, and one book-length critical study about his work: Pós-Colonialismo, Identidade e Mestiçagem Cultural: A Literatura de Wole Soyinka, by Professor Eliana Lourenço da Lima Reis, the result of a doctoral dissertation. It is not difficult to understand why such a situation occurs if we think about the general features of the works of Wole Soyinka. They tend to be difficult to read in their thematic and structural complexity. Such obstacles often prevent us from getting to know works that are of great importance and that include details and nuances of the historical, social, political and religious landscape of Africa. Indeed, Soyinka addresses all these dimensions in his works with a wealth of meanings and symbols that provides us with a picture of African society and culture that gets ever deeper as we keep on discovering it. 10 Soyinka is a Nigerian writer, of Yoruba origin. His works draw heavily on the reality of Nigeriaincluding many of his lyrical poems. Even the writings that provide no nominal indication of country or citysuch as A Dance of the Forestsshow evidence of being placed in Nigeria in details such as the names of the characters. Nevertheless its firm location in Nigeria, the works of Wole Soyinka aim to bequotesdbs_dbs14.pdfusesText_20[PDF] 7 deadly sins characters pig
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