《木巴厘运动文学中的沃雷·肖英卡》由会员分享，可在线阅读，更多相关《木巴厘运动文学中的沃雷·肖英卡（6页珍藏版）》请在金锄头文库上搜索。
1、木巴厘运动文学中的沃雷肖英卡IntroductionIn 1961, Wole Soyinka and his fellows set up Mbari Artists and Writers Club, whichstarted and enlightened the mass by means of holding literary and artistic activities withinNigeria after Nigeria won independence, and then its influences reached the neighboringcountries. Si
2、nce then, the cultural movement named after Mbari clubs was launched. Thiscultural enlightenment started with the promotion of elite literature and arts, and endedwith the popularization of literature and arts. Due to the fact that this period is closelyrelated to Wole Soyinka s future composition,
3、it became important to reconsider andrevisit the history of this movement in order to interpret his works. In addition, becauseNigerian study within the academic circle of China is a newly rising field, the insufficientunderstanding of the traditional Nigerian culture is unavoidable. Therefore, the
4、research atthe beginning, evolution and development of the Movement of Mbari Clubs will bebeneficial to deepening our understanding of Nigerian and African countries as well aspromoting the implementation of our national African development strategies.Besides, In terms of the studies of this movemen
5、t, there is no reported literaturewithin China. Even in western countries, it has been slightly mentioned in few works likeThe Early Writings of Wole Soyinka, African Literary NGODs: Power, Politics andParticipation, in which, however, there is no clear definition on the culture orientationsand hist
6、orical positions of the movement of Mbari Clubs, consequently they seemnon-systematic. Hence, This topic should and must be discussed further.Literature ReviewWole Soyinka was one of the main leaders in the war against the Neo-Negritude andan important pioneer of the Post-colonial African Poetics in
7、 the World Literature.Considering his excellent achievements in these aspects, Soyinka has become one of thehot issues in the field World Literature Research. By the end of 2016, 134 monographstogether with over 131,000 relevant academic research papers on Wole Soyinka and hisworks had been publishe
8、d abroad, among which 3341 papers are published in South Asia.Thereby all these proved that the Soyinkan study; have come into being. From theperspective of attitudes the critics adopted towards Wole Soyinka and his poetics, thisstudy could be summarized into three stages:After ten years, great brea
9、kthroughs were made on Soyinkan study. Gerald Mooretook the lead in the commentary analysis of Soyinka s literary works and dissected theYoruba cultural idiosyncrasy embodied in them. Oyin Ogunba carried out his analysis ofSoyinka s literary works within the specific contexts of the transitional per
10、iod. Oyinapplied comparative methodology to analyze Soyinka s contributions to African literature.He regarded Soyinka as a Byronic master; and an African Shakespeare,; as well as amain pioneer of modern African literature ; some of Oyin s views were adopted by Moore.In 1978, Moore published a revise
11、d edition of his previous book, in which Soyinka s newworks were analyzed and a collection of Soyinka s new poems were included in theAppendix. Moore also defended Soyinka and carried out discussions about the criticismsof Soyinka in 1960s. Bernth Lindfors undertook sufficient studies on Soyinka s e
12、arly lifeexperiences and early composition3; Gibbs interpreted Soyinka s philosophy of Negritudeand post-colonial aesthetics, and analyzed the relationship between Yoruba mythology andSoyinka s literary works4. Amuta studied the relationship between Nigerian realisticliterary traditions and European
13、 literature, and believed that Soyinka was a realistic writerunder the influence of both literary traditions. Meanwhile, Amuta criticized Soyinka sartistic practice for straying away from the Marxism proletarian artistic philosophy5. Thisstage featured the focus on the Soyinka as a phenomenon and th
14、e rising quantity ofadvocators for Soyinka.Chapter 1: The Establishment of the Mbari ClubsWole had always considered himself as an independent thinker and despised enslavedintellectuals. Later, his play, The Dance of Forest, though being the winner in thepreliminary election, was performed without m
15、any focuses in Ibadan rather than in theNational Day Show in the capital city. This experience made him more interested in thetopic of artistic autonomy. Then in 1961, several young men, having a common goal,established the Mbari Artists and Writers Club under the support of Ulli Beier, a professora
16、nd scholar at Iboland University. Influenced by the Mbari Artists and Writers Club, theclubs also named after Mbari were set up in Osogbo and Enugo. Each of the three MbariClubs had its own task while cooperating with the other two, which lead to the birth of thefamous Movement of Mbari Clubs in Nigerian literature, or even Nigerian culturalhi
