READING EFO KODJO MAWUGBE'S IN THE CHEST OF A WOMAN AND ESIABA IROBI'S CEMETERY ROAD AS SUBVERSIVE TEXTS
READING EFO KODJO MAWUGBE’S IN THE CHEST OF A WOMAN AND ESIABA IROBI’S CEMETERY ROAD AS SUBVERSIVE TEXTS Introduction In recent years, in different parts of the globe, there has been a renewed wave of interest in subversive texts, which are texts that call into question certain existing ideologies. One of the major reasons for the recent surge in popularity of subversive texts is the increasing rate of subversion among people in different nations. These subversive characters characteristically perform actions which undermine the progress of a nation. The foregrounding of subversion, an issue of urgent currency in many African countries, is largely responsible for the new wave of popularity of subversive texts among African playwrights and novelists. As social commentators, many African writers, consciously or unconsciously, contribute significantly to the growing discourse of subversion by strewing the plots of their novels and plays with subversive incidents and characters. Subversion refers to the contradiction or reversal of the values and principles of a syst
Chaos in the Ivory Tower: Postcolonial Representations of the Nigerian Academic Elite in Esiaba Irobi's Cemetery Road and Ojo Rasaki Bakare's Once Upon a Tower
Alicante Journal of English Studies / Revista Alicantina de Estudios Ingleses ISSN: | e-ISSN: X Special Issue: English Literary Studies Today: From Theory to Activism No. 33, , pages Chaos in the Ivory Tower: Postcolonial Representations of the Nigerian Academic Elite in Esiaba Irobi’s Cemetery Road and Ojo Rasaki Bakare’s Once Upon a Tower Nurudeen ADESHINA LAWAL Author: Nurudeen Adeshina Lawal Osun State University, Ikire Campus, Nigeria @ Date of reception: 24/07/ Date of acceptance: 19/10/ Citation: Lawal, Nurudeen A. “Chaos in the Ivory Tower: Postcolonial Representations of the Nigerian Academic Elite in Esiaba Irobi’s Cemetery Road and Ojo Rasaki Bakare’s Once Upon a Tower.” Alicante Journal of English Studies, no. 33 (): Licence: This work is licensed under a Creative Commons Attribution International License (CC BY ). © Nurudeen Adeshina Lawal Abstract This work explores Esiaba Irobi’s Cemetery Road () and Ojo Rasaki Bakare’s Once Upon a Tower () with a view to examining the manner in which Irobi and Bak
Esiaba Irobi’s Legacy: Theory and Practice of Postcolonial Performance
Esiaba Irobi’s Legacy: Theory and Practice of Postcolonial Performance ISIDORE DIALA Westfälische Wilhelms Universität, Münster, Germany Imo State University, Owerri, Nigeria isidorediala@ B y the death of Esiaba Irobi (–) on 3 May , contemporary African theater lost a distinguished playwright, stage director, actor, literary theorist, and scholar. Educated at the University of Nigeria, Nsukka, and at the University of Sheffield and the University of Leeds, both in England, Irobi’s specialization was drama, film and theater studies. Theater practitioner and scholar Irobi at various times taught at the University of Nigeria, Nsukka; the University of Leeds and the Liverpool J. Moores University in England; New York University, Townson University, and Ohio University (Athens, Ohio), all in the United States of America. He was on a fellowship at the Freie Universität, Berlin, Germany, at the time of his death. However, if Irobi’s life was a restless search for new horizons, his deep anchorage in the oral tradition of his Igbo ethnic group, its rituals of self-renewal, myths and legends of enigmatic and daring d
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