Soyinka’s death

Wole Soyinka’s Death and the King’s Horseman is the convergence of two issues: the first focuses on the Yoruba priest Elesin, who represents the embodiment of the mythology and the history of the people; the second concentrates on the “sterile, existential wasteland” (Ralph-Bowman, 1983) of the white colonialists. The two issues come into conflict in the sacrifice of Elesin’s European-educated son, Olunde, whose death represents a significant and uncompromising affirmation of Yoruba cultural tradition.

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Among the art forms identified in the eighteenth century as central – painting, music, sculpture, architecture, literature -- sculpture has perhaps received the least focused attention from aestheticians as having its own standards of excellence, or as affording a distinctive kind of aesthetic experience. Unlike music or architecture, traditional sculpture does not pose obvious questions about common claims concerning the nature of art or of aesthetic experience (such as imitation or disinterestedness).

6p yasuyidol 01-04-2013 35 4   Download